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The best software for post production, made my work real great. I am using this version: Thank you for going through it, taught me a lot. Can someone explainme please how to watch every tutorial? Because when I click in the picture the link goes to other website and doesn't showme the video tutorial.

I don't speak english very well so maybe I wrote many things wrong. These are great tutorials, but I think the majority of your viewers new to moderate proficiency wanting to move up a notch with the software.

I'd like to see some tuts that don't require so many additional plugins. Mainly because we don't have admin rights on the machines we work on and can't instantly get the plugins you have access to.

This makes our follow-along abilities very limited. Just a tip. Thanks and great sight. Hi all, Could I advertise my resource here? I'm publishing After Effects tutorials, created by me and by other people on my site -. I would like to get the installer about adobe after effects, let me know pls. My operating system is Windows XP on my pc. Great collection of tutorials. I'm creating an intro for my YouTube channel, and these videos will make it great.

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Good tutorials. I thought you all might like to take a look at some of these AE tutorials. In a LOT of places you've written "In this tutorial artist will show you Congratulations on putting up your own web page that links to video co-pilot.

If you liked my "Creating a Tracked Headwound" tutorial in the list above, you will also like my other tutorials at mamoworld: - tools and tutorials for After Effects.

Very good collection. I was searching able to several months more details of After Effects. I references of this site admecindia. I precisely did some world wide web surfing and found this blog site. 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 Layer markers and composition markers XMP metadata Memory, storage, performance Memory and storage CS5.

Improve performance Memory and storage CS6 Expressions and automation Plug-ins Scripts Automation Expression basics Expression language reference Expression examples Rendering and Exporting Basics of rendering and exporting Rendering and exporting for Flash Professional and Flash Player Rendering and exporting still images and still-image sequences Automated rendering and network rendering Converting movies Page: 5 What's New 1. This feature allows you to incorporate 3D objects into a 2D scene effectively.

You can render compositions in a separate environment from the existing Advanced 3D composition renderer now called Classic 3D. Many of the existing capabilities of the Classic 3D renderer are available in the new Ray-traced 3D renderer. Examples include soft shadows, motion blur, and depth-of-field blur. Options include beveled and extruded text and shape layers, bending of footage and composition layers, environment map support and additional material options. Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Using the ray-traced 3D renderer Beveled and extruded text and shape layers 3D text and shape layers can take on a bevel or extrusion or both.

Properties such as bevel style, bevel depth, bevel hole depth, and extrusion depth determine the look. Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Extruding 3D text and shapes and modifying geometry options Video tutorial: Learn by Video: Extruding Shapes Bendable footage and composition layers In the ray-traced renderer, you can curve 3D footage and nested compositions around a vertical axis using controls in Geometry Options: Curvature: The amount of bend as a percentage Segments: The smoothness the bend Resources: Bending a footage layer Video tutorial: New features workshop: Bending 2D layers Video tutorial: Learn by Video: Bending Layers Environment layer support Use 3D footage or nested compositions as a spherically mapped environment around the scene, visible on reflective objects.

Resources: Environment layer Video tutorial: New features workshop: Environment layers Video tutorial: Learn by Video: Material Options Environment Layers New material options 3D layers in the ray-traced renderer include additional materials properties, which affect how 3D objects interact with light.

For example, you can use reflection, transparency, index of refraction as materials properties. This menu button has been reordered from highest quality and slower performance to lowest quality and faster performance. Some options have been renamed, and keyboard shortcuts have been assigned to them. Previously, the width of the feather was the same around the entire closed mask. The Mask Feather tool is available from the Pen tool. Press G to toggle between the Pen tool and the Mask Feather tool.

Resources: Variable-width mask feathering CS6 Video tutorial: New features workshop: Variable-width mask feathering Layer bounding boxes and selection indicators Layer bounding boxes and selection indicators include features to support the new 3D features.

They support beveled, extruded, or curved layers, in addition to standard "flat" layers. You can scale and rotate a 3D layer by manipulating the bounding box from any side. Snapping the anchor point to different parts of a side of a bounding box is also available. Resources: Layer bounding boxes and selection indicators Video tutorial: New features workshop: Layer bounding boxes and selection indicators Video tutorial: reTooled.

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 Video tutorial: New features workshop: Converting imported vector graphics from Illustrator to shape layers Rolling shutter repair effect Rolling shutter distortion occurs mainly in digital cameras with CMOS sensors. This distortion usually occurs when the subject or the camera moves.

The Rolling Shutter Repair effect fixes footage containing rolling shutter distortion. The Warp Stabilizer effect also has rolling shutter repair function.

However, the Rolling Shutter Repair effect has more controls and is useful when the footage does not need stabilizing. In CS6, you can now run aerender or use Watch Folder in a non-royalty bearing mode, with serialization not required.

Resources: Network rendering with watch folders and render engines Scripting changes Numerous scripting changes have been made, and are compiled on the After Effects Region of Interest blog. See this series on the video2brain website for video training about every new and changed feature in After Effects CS5. For the tutorials, see this Adobe TV video series.

Top new features in After Effects CS5. Source timecode: Source timecode CS5. Light falloff: Light settings. Plus many more. Legal Notices Online Privacy Policy 7.

However, there were still a couple of issues. See these posts on the After Effects user-to-user forum for a discussion of alternatives and feedback. This post on the After Effects Region of Interest blog has more information about giving feedback in general.

Projects and compositions changes The default composition settings are now for a second x HDTV composition: Composition settings In previous versions, if you were entering or editing text when it was time for an auto-save, you would be forced out of text-editing mode. Now, if you're in text-editing mode when it's time for an auto-save, that auto-save is skipped: Save and back up projects in After Effects CS5 The Frame Rate control in the Composition Settings dialog box now includes a menu that allows you to select from a list of common frame rates: Change frame rate for a composition 8.

Page: 13 The composition background color setting is now located in the Composition Settings dialog box instead of on the Composition menu, and the keyboard shortcut for accessing only the composition background color has been removed: Composition settings When you double-click a precomposition layer when the Roto Brush tool or a paint tool is active, the precomposition layer opens in a Layer panel.

To open the nested composition in a Composition panel instead, Alt-double-click Windows or Option-double-click Mac OS the precomposition layer: Opening and navigating nested compositions Importing and managing footage items changes Added interpretation rules and gamma rules for ProRes media: Interpret footage items Added.

After Effects CS5 can import and export FLV files encoded with the On2 VP6 codec: Render and export a composition as an FLV or F4V file When you drag a completed output module to a folder in the Project panel, you import the output file or files into that folder: Output modules and output module settings Double-click a footage item in the Project panel to open it in a Footage viewer.

The behavior in previous versions was less predictable and more complex, and was limited to specific media players: View footage item in the Footage panel or media player assigned by operating system Layers and properties changes Added Divide and Subtract blending modes: Blending mode reference The Label Colors and Label Defaults preferences categories have been combined into one Labels preference category.

To hide these labels, choose Show 3D Labels from the Composition panel menu: Choose a 3D view When you click the Current Time control in the upper-left corner of the Timeline panel, you can now enter a time directly in the box instead of opening the Go To Time dialog box: Move the current-time indicator CTI When you click the Time Navigator in the Timeline panel, the Info panel shows the times of the beginning and end of the Time Navigator duration: Zoom in or out in time for a composition When you click the Work Area bar in the Timeline panel, the Info panel shows the times of the beginning and end of the work area.

This change corresponds with a change in gamma from 1. Use the corresponding tools to apply the effects: Paint tools: Brush, Clone Stamp, and Eraser and Animating with Puppet tools The histogram in the Levels effect provides the option to see individual color channels in context with other color channels, as well as showing color channels as colorized: Levels effect The Alpha Levels effect has been removed.

Compositions created with a previous version of After Effects that use the Vector Paint effect will still render, but you will not be able to modify the Vector Paint effect properties in these compositions.

The start-up time for the background processes used in Render Multiple Frames Simultaneously multiprocessing is also reduced. Plug-ins, scripts, and automation changes Esc key interrupts a running script: Loading and running scripts After Effects CS5 can load and run only bit plug-ins, not bit plug-ins: Plug-ins Pixel Bender Toolkit 2. The dialog box contained an option for using RLE run-length encoding. This option is now Page: 16 always on.

Remaining are color depth options for Colors 8-bpp color , Millions Of Colors 8-bpc , Trillions Of Colors bpc , and Floating Point bpc : Output modules and output module settings Removed overflow volumes feature. Changed Segment Movie Files At preference to Segment Video-only Movie Files At preference: Segment settings Removed some fractional audio sample rates and ability to set audio sample rate to an arbitrary, custom value in output module settings.

These changes are for Mac OS only. For a complete list of keyboard shortcuts, see Keyboard shortcuts. Rolling the mouse scroll wheel zooms in this context: Scroll or zoom with the mouse wheel Page: 17 Many dialog boxes now have a Preview option that allows you to see the results of changes before you close the dialog box. In the Project, Render Queue, and Effect Controls panels, you can use the arrow keys to expand or collapse groups.

Several more features now operate on the visible viewer in ETLAT mode, including keyboard shortcuts for toggling grids, toggling guides, showing channels, working with snapshots, and sending a preview to an external video monitor: Edit this, look at that ETLAT and locked Composition viewers Changed some user interface strings to make their meaning and function more clear.

This option is now always on. Legal Notices Online Privacy Policy Page: 18 After Effects getting started tutorials To learn more, view these recommended resources online. After Effects CS6: what's new and changed Apr. Page: 21 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.

The best way to ensure that your movie is suitable for a specific medium is to render a test movie and view it using the same type of equipment that your audience will use to view it. Aharon Rabinowitz provides an article on the Creative COW website about planning your project with the final delivery specifications in mind. For a video tutorial on creating and organizing projects, go to the Adobe website.

You can use Adobe Photoshop and Adobe Illustrator to create storyboards. You can use Adobe Story to collaboratively write and manage screenplays. Adobe Story also converts information from a screenplay into XMP metadata that can automate the creation of shooting scripts, shot lists, and more.

Acquiring, choosing, and preparing footage Before importing footage, first decide which media and formats you'll use for your finished movies, and then determine the best settings for your source material.

For example, if you want an image to fill your composition frame, configure the image in Adobe Photoshop so that the image size and pixel aspect ratio match the composition size and pixel aspect ratio.

See Pixel aspect ratio and frame aspect ratio. Consider using Adobe OnLocation while shooting footage to make sure that you get the most out of your time and footage. If possible, use uncompressed footage or footage encoded with lossless compression.

Lossless compression means better results for many operations, such as keying and motion tracking. Certain kinds of compression—such as the compression used in DV encoding—are especially bad for color keying, because they discard the subtle differences in color that you depend on for good bluescreen or greenscreen keying.

See Keying introduction and resources. See Frame rate. For example, if you know that you want to animate using motion tracking, consider shooting your scene in a manner that optimizes for motion tracking—for example, using tracking markers.

See Motion tracking workflow. 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.

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.

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. After Effects getting started tutorials Planning and setup Setup and installation Workflows Workspace and workflow Working with After Effects and other applications Dynamic Link and 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 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 Setting, selecting, and deleting keyframes Page: 3 Editing, moving, and copying keyframes Assorted animation tools Keyframe interpolation Speed Tracking and stabilizing motion Animating with Puppet tools Time-stretching and 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 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 Layer markers and composition markers XMP metadata Memory, storage, performance Memory and storage CS5.

This feature allows you to incorporate 3D objects into a 2D scene effectively. You can render compositions in a separate environment from the existing Advanced 3D composition renderer now called Classic 3D. Many of the existing capabilities of the Classic 3D renderer are available in the new Ray-traced 3D renderer.

Examples include soft shadows, motion blur, and depth-of-field blur. Options include beveled and extruded text and shape layers, bending of footage and composition layers, environment map support and additional material options.

Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Using the ray-traced 3D renderer Beveled and extruded text and shape layers 3D text and shape layers can take on a bevel or extrusion or both. Properties such as bevel style, bevel depth, bevel hole depth, and extrusion depth determine the look.

Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Extruding 3D text and shapes and modifying geometry options Video tutorial: Learn by Video: Extruding Shapes Bendable footage and composition layers In the ray-traced renderer, you can curve 3D footage and nested compositions around a vertical axis using controls in Geometry Options: Curvature: The amount of bend as a percentage Segments: The smoothness the bend Resources: Bending a footage layer Video tutorial: New features workshop: Bending 2D layers Video tutorial: Learn by Video: Bending Layers Environment layer support Use 3D footage or nested compositions as a spherically mapped environment around the scene, visible on reflective objects.

Previously, the width of the feather was the same around the entire closed mask. The Mask Feather tool is available from the Pen tool. Press G to toggle between the Pen tool and the Mask Feather tool. Resources: Variable-width mask feathering CS6 Video tutorial: New features workshop: Variable-width mask feathering Layer bounding boxes and selection indicators Layer bounding boxes and selection indicators include features to support the new 3D features.

Resources: Layer bounding boxes and selection indicators Video tutorial: New features workshop: Layer bounding boxes and selection indicators Video tutorial: reTooled. 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 Video tutorial: New features workshop: Converting imported vector graphics from Illustrator to shape layers Rolling shutter repair effect Rolling shutter distortion occurs mainly in digital cameras with CMOS sensors.

This distortion usually occurs when the subject or the camera moves. The Rolling Shutter Repair effect fixes footage containing rolling shutter distortion. The Warp Stabilizer effect also has rolling shutter repair function. However, the Rolling Shutter Repair effect has more controls and is useful when the footage does not need stabilizing.

In CS6, you can now run aerender or use Watch Folder in a non-royalty bearing mode, with serialization not required. Resources: Network rendering with watch folders and render engines Scripting changes Numerous scripting changes have been made, and are compiled on the After Effects Region of Interest blog. See this series on the video2brain website for video training about every new and changed feature in After Effects CS5. For the tutorials, see this Adobe TV video series. Top new features in After Effects CS5.

Source timecode: Source timecode CS5. Light falloff: Light settings. Plus many more. Legal Notices Online Privacy Policy 7. However, there were still a couple of issues.

See these posts on the After Effects user-to-user forum for a discussion of alternatives and feedback. This post on the After Effects Region of Interest blog has more information about giving feedback in general.

Alt-double-click Windows or Option-double-click Mac OS a footage item in the Project panel to open the source file in the media player assigned for that file type by the operating system. Press Enter on the numeric keypad to open selected footage items in a Footage viewer. The behavior in previous versions was less predictable and more complex, and was limited to specific media players: View footage item in the Footage panel or media player assigned by operating system Layers and properties changes Added Divide and Subtract blending modes: Blending mode reference The Label Colors and Label Defaults preferences categories have been combined into one Labels preference category.

Null Object and Text items have been added to the Label Defaults section, and a new label color control Dark Green has been added in the 16th position. In After Effects CS5, the default center cut action-safe margin is Page: 14 corner of each view such as Top or Right to indicate which view is associated with which camera perspective. To hide these labels, choose Show 3D Labels from the Composition panel menu: Choose a 3D view When you click the Current Time control in the upper-left corner of the Timeline panel, you can now enter a time directly in the box instead of opening the Go To Time dialog box: Move the current-time indicator CTI When you click the Time Navigator in the Timeline panel, the Info panel shows the times of the beginning and end of the Time Navigator duration: Zoom in or out in time for a composition When you click the Work Area bar in the Timeline panel, the Info panel shows the times of the beginning and end of the work area.

Instead, use the Levels effect, which can be assigned to work only on an alpha channel, has a histogram, and is a bpc effect. Old projects that use the Alpha Levels effect will still open, and you will still be able to modify the Alpha Levels effect properties in these projects: Levels effect The Vector Paint effect has been removed. Compositions created with a previous version of After Effects that use the Vector Paint effect will still render, but you will not be able to modify the Vector Paint effect properties in these compositions.

Instead, use paint tools and shape layers: Drawing, painting, and paths Font preview support the Show Font option has been removed from the Basic Text, Path Text, and Numbers effects. Even if a property of an effect is selected, the effect itself not just the selected properties visible in the Timeline panel will be copied. The start-up time for the background processes used in Render Multiple Frames Simultaneously multiprocessing is also reduced. Plug-ins, scripts, and automation changes Esc key interrupts a running script: Loading and running scripts After Effects CS5 can load and run only bit plug-ins, not bit plug-ins: Plug-ins Pixel Bender Toolkit 2.

The dialog box contained an option for using RLE run-length encoding. This option is now Page: 16 always on. Remaining are color depth options for Colors 8-bpp color , Millions Of Colors 8-bpc , Trillions Of Colors bpc , and Floating Point bpc : Output modules and output module settings Removed overflow volumes feature. Changed Segment Movie Files At preference to Segment Video-only Movie Files At preference: Segment settings Removed some fractional audio sample rates and ability to set audio sample rate to an arbitrary, custom value in output module settings.

In the Project, Render Queue, and Effect Controls panels, you can use the arrow keys to expand or collapse groups. Several more features now operate on the visible viewer in ETLAT mode, including keyboard shortcuts for toggling grids, toggling guides, showing channels, working with snapshots, and sending a preview to an external video monitor: Edit this, look at that ETLAT and locked Composition viewers Changed some user interface strings to make their meaning and function more clear. This option is now always on.

Legal Notices Online Privacy Policy Page: 18 After Effects getting started tutorials To learn more, view these recommended resources online. After Effects CS6: what's new and changed Apr. Page: 21 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.

You can use Adobe Story to collaboratively write and manage screenplays.

Adobe after effects cs6 guide free -

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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 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.

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.

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.

Can someone explainme please how to watch every tutorial? Because when I click in the picture the link goes to other website and doesn't showme the video tutorial. I don't speak english very well so maybe I wrote many things wrong. These are great tutorials, but I think the majority of your viewers new to moderate proficiency wanting to move up a notch with the software. I'd like to see some tuts that don't require so many additional plugins.

Mainly because we don't have admin rights on the machines we work on and can't instantly get the plugins you have access to. This makes our follow-along abilities very limited. Just a tip.

Thanks and great sight. Hi all, Could I advertise my resource here? I'm publishing After Effects tutorials, created by me and by other people on my site -. I would like to get the installer about adobe after effects, let me know pls. My operating system is Windows XP on my pc. Great collection of tutorials. I'm creating an intro for my YouTube channel, and these videos will make it great. I am very knowledgeable after reading this.

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It must have taken hours. Very informative, I did most of these tutos and learned a lot. So for those who do not speak english, pueden encontrar videotutoriales de After Effects en mi blog: estudiodeepred. If you liked my "Creating a Tracked Headwound" tutorial in the list above, you will also like my other tutorials at mamoworld: - tools and tutorials for After Effects. Very good collection. I was searching able to several months more details of After Effects. I references of this site admecindia.

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I added it and i? I also noticed that your internet web page has some extremely good linking completed to it. I will right apart take maintain of the rss feed to stay knowledgeable of any changes. Remarkable information you got suitable here. External Communication: ExtendScript provides a S o cke t object that allows you to communicate with remote systems from your After Effects scripts.

Interapplication Communication: ExtendScript provides a common scripting environment for all Adobe applications, and allows interapplication communication through scripts. If you choose to use another text editor to create, edit, and save scripts, be sure to choose an application that does not automatically add header information when saving files and that saves with Unicode UTF-8 encoding.

In many text editors, you can set preferences for saving with UTF-8 encoding. After Effects scripts must include the. Any UTFencoded text file with the. You can use the ExtendScript Toolkit to export a binary version of an ExtendScript file, which has the extension. Such a binary file may not be usable with all of the scripting integration features in After Effects. Activating full scripting features The default is for scripts to not be allowed to write files or send or receive communication over a network.

This error message includes information about the nature of the error and the line of the script on which it occurred. This feature is disabled by default so that casual users do not encounter it. If you edit a script while After Effects is running, you must save your changes for the changes to be applied. If you place a script in the Scripts folder while After Effects is running, you must restart After Effects for the script to appear in the Scripts menu, though you can immediately run the new script using the Run Script File command.

Running scripts from the command line, a batch file, or an AppleScript script If you are familiar with how to run a script from the command line in Windows or via AppleScript, you can send a script directly to the open After Effects application, so that the application automatically runs the script.

To run a script from the command line, call afterfx. Use the -r switch and the full path of the script to run as arguments. This command does not open a new instance of the After Effects appli- cation; it runs the script in the existing instance. Following are examples of Windows command-line entries that will send an After Effects script to the appli- cation without using the After Effects user interface to execute the script. In the first example, you copy and paste your After Effects script directly on the command line and then run it.

The script text appears in quotation marks following the af te r fx. For example: af t e r f x. In the first example, you copy your After Effects script directly into the Script Editor and then run it.

After Effects runs scripts in these folders automatically, in alphabetical order, on starting and quitting, respectively. In the Startup folder you can place scripts that you wish to execute at startup of the application. They are executed after the application is initialized and all plug-ins are loaded. Scripting shares a global environment, so any script executed at startup can define variables and functions that are available to all scripts.

In all cases, variables and functions, once defined by running a script that contains them, persist in subsequent scripts during a given After Effects session. Once the application is quit, all such globally defined variables and functions are cleared.

Be sure to give variables in scripts unique names, so that a script does not inadvertently reassign global variables intended to persist throughout a session. This occurs after the project is closed but before any other application shutdown occurs.

If a script has been written to provide a user interface in a dockable panel, the script should be put in the ScriptUI folder. ScriptUI panels work much the same as the default panels in the After Effects user interface.

Instead of creating a Window object and adding controls to it, a ScriptUI Panels script uses the t h is object that represents the panel. In this case, you should pass the t h i s object as an argument to your function. However, a script that is busy processing a lot of data might not be very responsive. Elements of basic JavaScript relevant to After Effects scripting JavaScript variables Scripting shares a global environment, so any script executed at startup can define variables and functions that are available to all scripts.

Scripters should be careful about giving variables in scripts unique names, so that a script does not inadvertently reassign global variables intended to persist throughout a session. JavaScript keywords and statement syntax Although it is not possible to provide an exhaustive resource describing usage of JavaScript, the following tables provide an overview of keywords, statements, operators, precedence, and associativity.

The following table lists and describes all keywords and statements recognized by the After Effects scripting engine. Similar to the w hi l e loop, except loop condition evaluation occurs at the end of the loop. Provides a way to easily loop through the properties of an object. Similar to the d o JavaScript operators The following tables list and describe all operators recognized by the After Effects scripting engine and show the precedence and associativity for all operators. Structure member.

Function call. Logical NOT. Bitwise OR. Logical OR. ExtendScript also defines the ScriptUI module, a set of window and user-interface control objects, which are available to After Effects scripts.

These are also documented in the JavaScript Tools Guide. The hierarchy of objects in scripting corresponds to the hierarchy in the user interface. The application contains a Project panel, which displays a project. The project contains compositions, which contain layers. The source for a layer can be a footage file, placeholder, or solid, also listed in the Project panel.

Each layer contains settings known as properties, and these can contain markers and keyframes. The render queue contains render-queue items as well as render settings and output modules.

All of these entities are repre- sented by objects in scripting. Object summary The following table lists all objects alphabetically, with links to the documentation page for each. Any JavaScript object or function can call these functions, which allow you to display text in a small 3-line area of the Info panel, and to convert numeric time values to and from string values.

Global function Description cle arO utput Clears text from the Info panel. Parameters None. Returns Nothing.

For example, if the formatted frame time value is the exact string format is determined by a project setting , and the frame rate is 24 fps, the time would be 0. If the frame rate is 30 fps, the time would be 0. If the time is a duration, the frames are counted from 0. When true, the time is a duration measured from frame 0. Returns Floating-point value, the number of seconds. Some opera- tions, such as the Prop er ty B as e move To method, might invalidate existing variable assignments to related objects.

This function allows you to test whether those assignments are still valid before attempting to access them. Parameters obj The After Effects object to check for validity. Returns Boolean. For example, if the time is 0. If the frame rate is 30 fps, the frame would be The format of the timecode string is determined by a project setting. Parameters t i me The number of seconds, a floating-point value. Parameters te x t The string to display.

Truncated if too long for the Info panel. The single global object is always available by its name, app. Attributes of the Application object provide access to specific objects within After Effects. Methods of the Application object can create a project, open an existing project, control Watch Folder mode, purge memory, and quit the After Effects application.

When the After Effects application quits, it closes the open project, prompting the user to save or discard changes as necessary, and creates a project file as necessary. A positive number indicates an error that occurred while running the script. Application activate method app.

Application activeViewer attribute app. Returns null if no viewers are open. Type Viewer object; read-only. Application beginSuppressDialogs method app.

Use e n d Suppre s s D i a l o g s to resume the display of error dialogs. Application beginUndoGroup method app.

Use the e nd Und o G roup method to mark the end of the group. Groups within groups become part of the larger group, and will undo correctly. In this case, the names of inner groups are ignored. Application buildName attribute app. Type String; read-only. Application buildNumber attribute app.

Type Integer; read-only. Application cancelTask method app. Parameters t ask ID An integer that identifies the task, as returned by app. Application effects attribute app. Type Array, with each element containing the following properties; read-only: d i spl ay Name String representing the localized display name of the effect as seen in the Effect menu.

This name does not change between ver- sions of After Effects. Use this value to apply the effect. Error dialogs are displayed by default; call this method only if b e g i n Suppre ss Di a l o g s has previously been called. Parameters alert Boolean; when true, errors that have occurred following the call to b e g i n Suppre ss Di a l o g s are displayed in a dialog box.

Application endUndoGroup method app. You can use this method to place an end to an undo group in the middle of a script, should you wish to use more than one undo group for a single script.

If you are using only a single undo group for a given script, you do not need to use this method; in its absence at the end of a script, the system will close the undo group automatically. Calling this method without having set a b e g i nUnd oGroup method yields an error.

Application endWatchFolder method app. When the application is launched from the command line, the — r or —s command line flag causes the application to run a script from a file or from a string, respectively. If this attribute is set to true, After Effects will exit after the script is run; if it is false, the application will remain open.

This attribute only has an effect when After Effects is run from the Windows command line. It has no effect in Mac OS. Application exitCode attribute app.

In the event of an error while the script is running, the script can set this to a positive integer that indicates what error occurred.

Example app. Type Boolean; read-only. Application isWatchFolder attribute app. Application memoryInUse attribute app. Application newProject method app. If the current project has been edited, the user is prompted to save it. If the user cancels out of the Save dialog box, the new project is not created and the method returns null.

Use app. Returns A new Project object, or null if no new project is created. By creating a function and assigning it to this attribute, you can respond to errors systematically; for example, you can close and restart the application, noting the error in a log file if it occurred during rendering.

The callback function is passed the error string and a severity string. It should not return any value. Parameters file Optional. An ExtendScript File object for the project file to open. If not supplied, the method prompts the user to select a project file. Returns A new Project object for the specified project, or null if the user cancels the Open dialog box.

Parameters file The file specification, an ExtendScript Fi l e object. Returns The swatch data, in this format: d at a. Swat chVa lu e.

Application pauseWatchFolder method app. Parameters p au s e True to pause, false to resume. Type Project object; read-only. Application purge method app. Replicates the Purge options in the Edit menu.

Application quit method app. Application saveProjectOnCrash attribute app. Set to false to suppress this dialog box and quit without saving. Application scheduleTask method app. A floating-point value.

When false the script is executed only once. Returns Integer, a unique identifier for this task, which can be used to cancel it with app. Application setMemoryUsageLimits method app. For both values, if installed RAM is less than a given amount n gigabytes , the value is a percentage of the installed RAM, and is otherwise a percentage of n.

Parameters i m age C a ch e Pe rc e nt age Floating-point value, the percentage of memory assigned to image cache. Application setSavePreferencesOnQuit method app.

Parameters d o S ave When true, preferences saved on quit, when false they are not. Application settings attribute app. Type Settings object; read-only. All methods and attributes of Item, in addition to those listed below, are available when working with AVItem. Still footage items have a duration of 0.

Type Floating-point value in the range [0. AVItem footageMissing attribute app. AVItem frameDuration attribute app. This is the reciprocal of f r ame R ate. When set, the reciprocal is automatically set as a new f rame R ate value. This attribute returns the reciprocal of the f rame R ate , which may not be identical to a value you set, if that value is not evenly divisible into 1.

To change it, set the confor mFrameR ate of the m ai n S ou rc e object. This sets both the f r ame R ate and f rame D u r at i on of the FootageItem. This is the reciprocal of the f r ame D u r at i on. When set, the reciprocal is automatically set as a new f r ame D u r at i on value. To change it, set the c on for m Fram e R ate of the mainS ource object.

This sets both the f r ame R at e and f r ame D u r at i on of the FootageItem. Type Floating-point value in the range [1. AVItem hasAudio attribute app. AVItem hasVideo attribute app. AVItem height attribute app. Otherwise, it is read-only. Type Integer in the range [ AVItem name attribute app. If the m a i n S ou rc e object is a FileSource, this value controls the display name in the Project panel, but does not affect the file name.

AVItem pixelAspect attribute app. The value you retrieve after setting may be slightly different from the value you supplied. The following table compares the value as it appears in the UI with the more-accurate value returned by this attribute. Type FootageSource object; read-only. AVItem setProxy method app. Loads the specified file into a new FileSource object, sets this as the value of the prox yS ou rc e attribute, and sets u s e Prox y to true.

It does not preserve the interpretation param- eters, instead using the user preferences. If the file has an unlabeled alpha channel, and the user preference says to ask the user what to do, the method estimates the alpha interpretation, rather than asking the user. This differs from setting a FootageItem's main source, but both actions are performed as in the user interface.

Parameters file An ExtendScript File object for the file to be used as a proxy. Returns None. It does not preserve the interpretation parameters, instead using the user prefer- ences. NOTE: There is no direct way to set a placeholder as a proxy in the user interface; this behavior occurs when a proxy has been set and then moved or deleted.

Parameters name A string containing the name of the new object. An integer in the range [0. Loads the specified file sequence into a new FileSource object, sets this as the value of the prox yS ou rce attribute, and sets u s e Prox y to true. It does not preserve the interpretation parameters, instead using the user preferences. If any file has an unlabeled alpha channel, and the user preference says to ask the user what to do, the method estimates the alpha interpretation, rather than asking the user.

Parameters file An ExtendScript File object for the first file in the sequence. Parameters c ol or The color of the solid, an array of 3 floating-point values, [R, G, B], in the range [0. AVItem time attribute app. This value is a number of seconds. It is an error to set this value for a FootageItem whose m a i n S ou rc e is still item. AVItem usedIn attribute app. Note that upon retrieval, the array value is copied, so it is not automatically updated.

If you get this value, then add this item into another composition, you must retrieve the value again to get an array that includes the new item. Type Array of CompItem objects; read-only. AVItem useProxy attribute app. AVItem width attribute app. All methods and attributes of Layer, in addition to those listed below, are available when working with AVLayer. AVLayer audioActive attribute app.

For this method to return true, au d i oE nabl e d must be true, no other layer with audio may be soloing unless this layer is soloed too, and the time must be between the i n Poi nt and out Poi nt of this layer. Parameters t i me The time, in seconds. AVLayer audioEnabled attribute app. This value corresponds to the audio toggle switch in the Timeline panel.

AVLayer autoOrient attribute app. AVLayer blendingMode attribute app. One of: Blendi ngMo de. ADD Blendi ngMo de. HU E Ble ndi ngMo d e. Parameters p oi nt Top L e f t The top left point coordinates in the form of an array, [x , y, z].

Returns An Object with the transformation properties set. AVLayer effectsActive attribute app. AVLayer environmentLayer attribute app. Setting this attribute to true automatically makes the layer 3D t hre e DL aye r becomes true.

AVLayer frameBlending attribute app. AVLayer frameBlendingType attribute app. AVLayer hasAudio attribute app. AVLayer hasTrackMatte attribute app. When true, this layer's t r a ck- Matte Typ e value controls how the matte is applied. AVLayer height attribute app. Type Floating-point; read-only. In this case, layer. False if the layer has an expressly set name, or if the layer does not have a source.

AVLayer isTrackMatte attribute app. AVLayer motionBlur attribute app. AVLayer openInViewer method app. Returns Viewer object for the Layer panel, or null if the layer could not be opened e.

AVLayer quality attribute app. Note that this feature can be resource-intensive; if replacing a large amount of footage, do this only at the end of the operation. AVLayer source attribute app. The value is null in a Text layer. Use AV L ayer. Type AVItem object; read-only. Use, for example, to write text that is properly aligned to the baseline. Parameters t i me T The time index, in seconds. Extents apply to shape layers, increasing the size of the layer bounds as necessary.

Returns A JavaScript object with four attributes, [ top, l e f t , w i dt h , he i g ht ]. AVLayer threeDLayer attribute app. Applies only to text layers. AVLayer timeRemapEnabled attribute app. One of: Tra ck Matt e Ty p e. All methods and attributes of Layer are available when working with CameraLayer. However, most collection objects are read-only. You do not assign objects to them yourself—their contents update automatically as objects are created or deleted.

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