book

Adobe After Effects CS4 Visual Effects and Compositing Studio Techniques

by Mark Christiansen

December 2008

Beginner to intermediate

496 pages

12h 5m

English

Adobe Press

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Who Brings the Sex?Did It Feel Just Like It Should?Was It Good for You?Lights On or Off?In Your HandsBring It
Why This Book?Some Key StepsOrganization of this BookThe Unique After Effects WorkflowNew in this EditionWhat’s on the DVDThe Bottom Line
Workspaces and PanelsCustomize the WorkspaceOrder Reduces EffortImport and Organize SourceContext-Clicks (and Keyboard Shortcuts)Missing FootageMove, Combine, and Consolidate ProjectsAdvanced Save OptionsProject, Footage, and Composition SettingsProject SettingsInterpret FootageAlphaFrame RateFields, Pulldown, and Pixel Aspect RatioSource FormatsPhotoshop FilesComposition SettingsPreviews and View PanelsResolution and QualityResponsivenessMultiprocessingCaching and PreviewingPreview SettingsBackgroundsEffects & PresetsOutput via the Render QueueRender Settings: Match or Override the CompOutput Modules: Making MoviesOptimized OutputStudy a Shot like an Effects Artist
OrganizationColumn ViewsColor CommentaryNavigation and ShortcutsTime NavigationMake Layers BehaveTimeline ViewsKeyframes and the Graph EditorGraph EditorShow PropertiesBasic Animation and the Graph ViewEase CurvesSeparate XYXThe Transform BoxHoldsBeyond Bouncing BallsCopy and Paste AnimationsLayer vs. GraphÜber-duperDissect a ProjectKeyframe Navigation and SelectionKeyframe OffsetsSpatial OffsetsAnchor PointParent HierarchyMotion BlurDecoding After Effects Motion BlurAdd, Do Not SubtractManipulate TimeAbsolute (Not Relative) TimeTime StretchFrame BlendingNested CompositionsTime RemapTimewarpConclusion
Selection TypesMatteAlpha ChannelMaskBlending ModeEffectCombined TechniquesCompositing: Science and NatureBitmap AlphaFeathered AlphaOpacityAlpha Channels and PremultiplicationPremultiplication IllustratedGet It Right on ImportSolve the Problem InternallyMasksBézier MasksShape LayersCombine SelectionsOverlapping TransparencyOverlap Inverted Layers SeamlesslyMasks in MotionMove, Copy, and Paste MasksFirst VertexBlending Modes: Compositing Beyond SelectionsAdd and ScreenMultiplyOverlay and the Light ModesDifferenceHSB and Color ModesStencil, Silhouette, and Preserve TransparencyLuminescent PremultiplyTrack MattesGotchasRender OrderConclusion

Multiple Compositions, Multiple ProjectsProject TemplatesMini-Flowchart ViewMore Ways to Manage Many CompsPrecomping and Composition NestingWhy Precomp?GotchasBoundaries of Time and SpaceCollapse TransformationsNested TimeAdvanced Composition SettingsAdjustment and Guide LayersAdjustment LayersGuide LayersRender PipelineOptimize Previews and RendersPost-Render OptionsProxies and Pre-RendersBackground RendersaerenderNetwork RenderingMultiple After Effects VersionsWatch FolderAdobe Media EncoderProject OptimizationSetting Preferences and Project SettingsHack Shortcuts, Text Preferences, or ProjectsXMLMemory ManagementConclusion
Optimized LevelsLevelsContrast: Input and Output LevelsBrightness: GammaIndividual Channels for Color MatchingThe Levels HistogramProblem Solving Using the HistogramPerfecting Brightness with CurvesJust for Color: Hue/SaturationMore Color Tools and TechniquesColor Finesse and Magic Bullet LooksThree-Way ColorColor MatchingThe Fundamental TechniqueOrdinary LightingDramatic LightingWhen There’s No Clear ReferenceDirection and PositionGamma SlammingConclusion
Good Habits and Best PracticesLinear Keyers and Hi-Con MattesThe Extract and Linear Color KeyExtractLinear Color KeyDifference MattesLuma MattesBlue and Green Screen KeysKeylightThe Three-Pass MethodGet the Best Out of KeylightGenerate the Screen MatteScreen GainScreen BalanceBiasRefinementHoles and EdgesNoise SuppressionFringing and ChokingSpill SuppressionBeyond Keylight: Better MattesOn SetMatte ProblemsEdge SelectionClose HolesColor SpillConclusion
Articulated MattesRotobeziersBeyond Built-in LimitationsTracking and TranslatingMask Motion BlurMorphReshapeFirst Vertex and Target MaskPuppetMore ToolsPaint and CloningPaint FundamentalsCloning FundamentalsTricks and GotchasWire RemovalDust BustConclusion
Point Tracking EssentialsChoose a FeatureTweak the TrackerPosition, Rotation, and/or ScaleConfidenceSolve Problems with NullsTrack Averaging and Mask TrackingMatch Motion BlurMatch Multiple ObjectsThe AE Camera as a Tracking Tool2.5D TrackingStabilize a Moving ShotIncorporate MochaAEThe BasicsThe Nitty GrittyUse Tracking with ExpressionsContinue LoopImport 3D Tracking Data3D Tracking DataImport a Maya SceneTry It Out for YourselfConclusion
Cameras: Virtual and RealSee with the CameraLens SettingsReal Camera SettingsEmulate a Real CameraThe Camera ReportLens Distortion2D and 3DPhotoshop CS4 3DStorytelling and the CameraCamera AnimationPush and ZoomCamera ProjectionCamera BlurImage Planes and Rack FocusBoke BlurGo for BokeThe Role of GrainGrain Management StrategiesGrain RemovalWhen to Manage GrainFilm and Video LooksLens Artifacts Aren’t Just AccidentsLens FlaresVignettesChromatic AberrationFrame Rate Isn’t Just SpeedFormat Isn’t Just Display SizeLess Color Can Be MoreConclusion
What Expressions AreCreating ExpressionsThe Language of ExpressionsLinking an Effect Parameter to a PropertyUsing a Layer’s IndexTime Delay Based on Layer IndexLooping KeyframesUsing MarkersTrigger Animation at MarkersPlay Only Frames with MarkersTime Remapping ExpressionsJittery Slow MotionWiggle TimeRandom TimeLayer Space TransformsEffect Tracks Parented LayerApply 2D Layer as Decal onto 3D LayerReduce Saturation Away From CameraInterpolation MethodsFade as Move Away From CameraFrom Comp Space to Layer SurfaceColor Sampling and ConversionExtra CreditFade as Turn Away From CameraAudio Triggers EffectConclusion
Color Management: Why Bother?Completely OptionalRelated and MandatoryA Pixel’s Journey Through After Effects16-Bit-Per-Channel CompositesMonitor CalibrationColor Management: Disabled by DefaultProject Working SpaceInput Profile and MediaCoreDisplay Management and Output SimulationOutput ProfileQuickTimeTo Bypass Color ManagementFilm and Dynamic RangeFilm and CineonWorking with Cineon FilesDynamic RangeCineon Log SpaceDigital FilmVideo Gamma SpaceLinear Floating Point HDRHDR Source and Linearized Working Space32 Bits per ChannelMixed Bit Depths and CompanderBlend Colors Using 1.0 GammaOutputConclusion
Source and DirectionLocation and QualityNeutralize Direction and HotspotsColor LooksThe Virtual Lens FilterBlack and WhiteDay for NightColor Timing EffectsSource, Reflection, and ShadowBacklighting and Light WrapFlaresReflected LightLight Scattering and VolumeShadowsContact Shadows and Indirect LightMultipass 3D Compositing
Particulate MatterMatch an EnvironmentCreate an EnvironmentSky ReplacementThe Sky Is Not (Quite) a Blue ScreenInfinite DepthFog, Smoke, and MistMasking and AdjustingMoving Through the MistBillowing SmokeMesh WarpLiquifySmoke Trails and PlumesWindAdding and Articulating ElementsPrecipitationThe Wet LookCreate PrecipitationComposite Precipitation
FirearmsThe ShootMuzzle Flash and SmokeShells and Interactive LightHits and SquibsEnergy EffectsCore and DecayHeat DistortionWhat Is Actually HappeningHow to Re-create ItFireCreating and Using Fire ElementsAll Fired UpLight InteractsDimensionalityExplosionsLight and ChunkyIn a Blaze of Glory

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About the Author

Mark Christiansen is a San Francisco-based visual effects supervisor and creative director. He has worked with visual effects companies, including The Orphanage, on several Hollywood feature films such as The Day After Tomorrow and Pirates of the Caribbean 3: At World’s End. As a director, producer, designer, and compositor/animator, he has worked on a diverse slate of commercial, music video, live event, and television documentary projects for clients as diverse as Sony, Interscope, HBO, and many of the world’s best-known Silicon Valley companies. A little music video he directed and designed in After Effects was featured in the ...