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We work across these areas. Right click on the selected Timeline sections and select Insert Frame. You will notice frames inserted in the thumbnail layers. From the Timeline select the first frame of Picture layer. After you select the first layer, go to properties panel change the name to pic1.
Once you change the name, you will see small red flag in the first frame of the Picture layer. Now drag the first picture from the Library panel. Make sure that the picture must correspond to the small pictures that are on the bottom of the stage. Go to properties panel and change the dimensions of the picture. W: px, H: px, X: 82 and Y: 0. You will notice that the picture will be aligned at the middle of the stage right above the small pictures.
After you change the dimension of the first picture, right click on the second frame of the Picture layer select Insert Blank Keyframe. Repeat steps 4, 5 and 6 for the remaining pictures.
Make sure you Insert Blank keyframe in each section and name pic2, pic3 and pic4 for the remaining pictures. Dimensions will be same for all pictures. After you are done with step 8, select Action layer from the Timeline. Click on the first section of Action layer and press F9 or right click and select Action to go to the Action Script panel.
Application of Action Script 1. Type this exact code below on the Action panel screen. Previewing the Thumbnail 1. Go to File and to Save. Save this file inside the animation folder. This file can be edited later. Export this file inside the same folder. This file can be uploaded to any webpage and video hosting site.
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Jump to Page. As you apply effects to a layer, they show up in the Effect Controls panel and in the Timeline panel. You can apply changes or keyframes in either panel. To complete this task, you need one brief video clip. In the Composition Settings dialog box, name the composition Video Effects, select an appropriate video preset, accept the other defaults, and click OK.
Note: If the video clip you intend to use is longer than 30 seconds, you need to change the composition length in the Composition Settings dialog box from its default 30second value. Any change you make in the Composition Settings dialog box becomes the new default setting.
The Import File dialog box appears. Select a video file you want to apply effects to, and click Open. Figure 48 Composition panel with effect being applied The video file appears in the Project panel. Drag the video clip to the Video Effects composition in the Timeline panel. The clip appears as a layer and appears in the Composition panel.
Position the CTI somewhere in the video clip in the Timeline panel. A box with two diagonal lines appears in the Composition panel Figure Then the effect appears in the Effect Controls panel Figure The video changes in the Composition panel Figure In the Effect Controls panel, select Warp and press Delete.
Effect switch Note: This is another way to add an effect to a clip. The effect appears in the Effect Controls panel. A mesh appears on the clip in the Composition panel Figure In the Effect Controls panel, click a tool such as Twirl. Note that the options below the tool icons change for the selected tool.
Drag the tool in the Composition panel Figure Note: The longer you hold a tool in one place in the Composition panel, the greater the change in that location. Figure 51 Effect Controls panel Liquify effect In the Timeline panel, click the triangle next to the clip name to display its options: Effects, Transform, and Audio if the clip has audio.
Display the Effects options and display the Liquify options. They are the same options available in the Effect Controls panel. Note: You need to click a Liquify tool icon in the Effect Controls panel to have its name appear in the tool options menu in the Timeline panel. The effect appears in the Effect Controls panel and applies the color change to the clip in the Composition panel Figure Note: This effect is actually the Solid Composite effect with an animation preset built in.
This is how most presets work. They are regular After Effect video effects with preset values. Their purpose is to make it easy for you to find an effect that does what you want without having to adjust too many options. Figure 54 Colorize-Gold Dip effect animation preset View the Solid Composite effect options area of the Effect Controls panel.
Delete the Solid Composite effect. Presets can save you a lot of time. The creative possibilities are endless. Putting effects in motion with Motion Tracker With the After Effects Motion Tracker, you can accurately, quickly, and painlessly track any number of moving objects and then link effects directly to those objects. You can track something you want to touch up and then apply that touch-up effect to the motion track a collection of keyframes to save a lot of time.
In Adobe Premiere Pro, you used a traveling matte to follow action. Depending on the motion, that required manually setting multiple keyframes. Motion Tracker does most of that work automatically. To complete this task you need a brief video clip with some action. For our example, we used a DJ, had Motion Tracker follow the action of his forearm over the turntable, and then applied a lens flare to that motion track.
In the Composition Settings dialog box, name the composition Motion Tracker, select an appropriate video preset, accept the other defaults, and click OK. Select the video file you want to use in this task and click Open. Figure 56 Composition panel, clip with Lens Flare applied The video file appears in the Project panel. Drag the video clip to the Motion Tracker composition in the Timeline panel. The clip appears as a layer. Click the clip layer to display it in the Composition panel.
Make sure the CTI is over the clip in the Timeline panel and the clip is showing in the Composition panel. Analyze Forward button A lens flare appears in the Composition panel Figure Briefly, it consists of a search region outer box , feature region inner box , and attach point plus sign.
After Effects Help explains how to adjust these features. Click Edit Target. The Motion Target dialog box appears Figure Note: If you had more than one object or effect to choose from, there would have been additional Effect Point Control selections. Figure 59 Motion Target dialog box In the Layer panel, click in the search region of the Track Point 1 pointer the outer box and drag the pointer to the object you want to track.
Figure 60 Track Point pointer feature region Check that the CTI is at the beginning of the video. The video plays and the Track Point 1 pointer follows the target you selected. In the Tracker Controls panel, click Apply. Play the Timeline and watch the Lens Flare follow the object on-screen Figure The technique was invented by Max Fleischer in , when he projected motion film images onto a frosted glass panel.
He traced the images on the glass, one frame at a time, creating realistic animation. His original equipment was called the rotoscope. For example, an object or character appears in color when everything else is black and white Figure 1. Anytime it looks like someone has drawn or painted over the movie, frame-by-frame, you are probably looking at the result of rotoscoping. Figure 1 Rotoscoping before and after These days, rotoscoping refers to the technique of creating a matte for a moving element on one layer so that it can be composited over another background layer.
The Roto Brush tool in After Effects makes this process a lot more efficient by helping you select and mask each frame in less time and with greater accuracy.
Keying and rotoscoping are not the same process, but understanding keying will help you understand what you hope to accomplish by rotoscoping. With keying, you have shot your footage with a foreground and background that you can easily separate and replace.
For example, you may have shot your subjects in front of a blue or green screen. Rotoscoping allows you to work with your existing footage that was shot in its natural environment. To complete the tasks in this guide, you will need to import one short video clip just a few seconds with some motion.
The best sort of video clip has at least one moving object in the foreground that you would like to isolate from the rest of the scene. To add the foreground and background layers: 1. Start After Effects. The Composition Settings dialog box appears Figure 2.
Name the composition Rotoscoping, select an appropriate video preset, and click OK. Browse to locate your motion video clip, select it, and click Open. The video file appears in the Project panel. Drag the video clip to the Rotoscoping composition in the Timeline panel.
Figure 2 Composition Settings dialog box This copy of the clip will be the foreground. Drag a second copy of the video clip to the Rotoscoping composition in the Timeline panel. This copy of the clip will be the background. There are now two copies of the same video in the Rotoscoping composition Timeline Figure 3.
You can do this by using the Pen tool to carefully select objects in every frame. To create a matte by rotoscoping: 1. Double-click the video clip in the top layer of the Rotoscoping composition Timeline. The video opens in the Layer panel Figure 4. Click the First Frame button in the Preview panel to move the current time indicator CTI to the first frame of the selected video clip Figure 5.
Work with the Roto Brush in full resolution for more accurate selection. Select the Roto Brush tool in the Tools panel Figure 6. With the Roto Brush tool selected, the pointer changes to a green circle with a plus sign. In the Layer panel, drag over an object you want to isolate in the foreground Figure 7. The Roto Brush paints in green, and After Effects selects an area.
The alpha boundary for the matte is defined by a bright colored line pink by default.
Adobe After Effects CS5 Tutorials - - Troubleshooting & help
But how Three ways we can turn the tide on nature loss. The impacts of nature loss affect us all, and it is only getting worse — since wildlife populations have declined by Over 60 years of action. The world has changed. Wildlife has halved in less than a generation. Natural habitats are being put under increasing pressure. And climate change is leading us into uncharted territory.
But people have changed too. Toggle navigation. Language English. Age of Change The business of survival Explore aspirational solutions for change in this beautiful series of films. Top news. Your content displays with a consistent look and feel across operating systems and browsers.
Deliver to mobile devices. Deliver content that plays back on millions of devices worldwide, and reach audiences on smartphones that run Android 2. Produce immersive content optimized for tablet devices. Take advantage of touch input and gesture-based actions that enhance the user experience.
Deliver to Internet-enabled televisions. Extend the reach of your content into consumers Internet-connected living rooms, with immersive experiences and applications that run on Adobe AIR for the Digital Home. Efficient workflows for multi-target content Simplify the creation and management of multiple FLA files that are created for a single project, but that target multiple devices. Share code and assets across documents and device targets to efficiently create, test, package, and deploy content for a wide range of screens and devices.
For example, symbols modified in one document update across other documents. The New Project dialog box has been enhanced to include a Default Document section, which allows you to specify a document name, target player, and ActionScript version. With Flash Professional CS5. The Project panel also makes it easier to manage multiple files that belong to the same project. Designers spend much of their time adjusting a single design to work at multiple sizes.
Everything on the stage, including symbols and motion paths across all scenes, are scaled. There are also controls for limiting scaling to unlocked or visible layers. By checking the Scale Content With Stage option, you can easily resize artwork and timeline data to work at different sizes. Enhanced layer controls Flash Professional CS5. Copy and paste layers including ones with motion and inverse kinematics armatures to a different timeline or even to a different FLA document.
You can also cut and duplicate layers, and even copy and paste folders. Copying layers between documents makes it easy to move content between different files in the same project. Symbol rasterization Complex vector artwork can take a toll on the processors of mobile devices, degrading rendering performance. Flash Professional CS5. The Convert To Bitmap command allows you to convert selected artwork on the stage to a bitmap.
Once converted, the artwork is no longer editable in Flash Professional, although you can edit it in Adobe Photoshop software. The Export As Bitmap command is a display property that you can apply to movie clip symbols. With this setting enabled, chosen symbols are rendered as bitmaps on stage when the project is published, with the benefit that the symbol remains editable.
Drag the pick whip to a movie clip on the stage to insert the instance name of your target movie clip into the code. Achieve extraordinary web design Explore the wider world of web design and development with Adobe Creative Suite 5.
Get a more comprehensive toolset at an appealing price. A single, easy-to-use panel in Dreamweaver CS5. Build rich content for devices with support for the jquery mobile framework. Take advantage of mobile templates, contextual code hinting, and the ability to quickly insert objects into a design. Build standalone applications targeted at multiple platforms. Leverage mobile-ready components optimized for performance and touch input.
Enjoy a full designer-developer workflow. Work collaboratively and confidently on shared Flex based projects with a new bidirectional workflow that allows designers who use Flash Catalyst CS5. For more info, see Adobe Creative Suite 5. Upon selecting a snippet from the Code Snippets panel, you can view a description or preview the underlying ActionScript code on a heads-up display HUD before you apply it.
In addition, the code snippets themselves are formatted to help novice and inexperienced programmers parse the code and apply it quickly. Typographic formatting and rollovers indicate areas of editability. The pick whip tool appears when you position your mouse over a movie clip placeholder in the code. Streamlined publishing and document settings Save time with a newly designed and more efficient Publish Settings dialog box, which you can now access directly from the Properties panel.
Select multiple formats on the left and edit the corresponding settings on the right. New to the dialog box is the ability to publish a SWC file to a path of your choice without having to publish the SWF file.
In addition, the dialog box now returns relative paths when selecting a publish destination so that files can be more easily shared across teams. You can also change the version of Flash Player, ActionScript version, and stage size directly from the Properties panel.
The Document Settings dialog box also features a new Auto Save feature, which automatically saves your file at specified intervals, on a per-document basis. Pinning support for inverse kinematics With this new release, Flash Professional continues to offer a powerful interactive design toolset that allows for creative exploration and implementation.
You can now lock, or pin, bones to the stage, allowing you to place restrictions on the movements of selected bones. In addition, you can now create multiple spans or armatures on a single layer, and you can more easily define more complex movement of armatures, such as walk cycles. Customer-requested enhancements Flash Professional CS5.
A new Loop button helps make it easier to repeatedly review a part of your animation. A new conflict resolution dialog box appears when symbols of the same name are imported to the Library, offering the option to place duplicate items into a new folder. TLF text support for style sheets, just like Classic text. Support for tab stops. Align text to tabs, and to enter tab characters in TLF text fields on stage. The tab ruler allows tab stops to be added, deleted, moved, or to have their tab type changed.
These enhancements improve the use of TLF on Android mobile devices. A new compiler caching feature to help reduce the compile time of documents that use embedded fonts and MP3 sound files, allowing you to deploy rich content faster. In previous versions, these items would recompile each time you tested or published a movie, even if nothing had changed. In Flash Professional CS5. Set break points and use trace statements to test the content directly on the device.
You can also package AIR for Android apps and publish directly to the device. Flash Builder 4. Create and open projects in either Flash Professional or Flash Builder. When you change project settings in one application, the other application s settings will automatically update to match. Still using Flash Professional CS4? These features include: Advanced text engine. Get global bidirectional language support and a set of advanced printquality typography APIs via the Text Layout Framework.
Format text in columns and maintain layout and formatting with greater fidelity when importing content from other Adobe products. Uncompressed projects appear and act like folders, allowing you to quickly manage and modify assets such as images. Code Snippets panel. Speed project completion by using convenient prewritten code snippets for common actions, animation, audio and video insertion, and more.
Also discover an easier way to learn the ActionScript 3. ActionScript editor. Speed up the development process with a powerful ActionScript editor, including custom class code hinting and code completion.
Quickly grasp the fundamentals of ActionScript, and efficiently reference your own code or external code libraries. Flash Builder integration. Work more closely with developers who can use your FLA files with Flash Builder to test, debug, and publish your content more efficiently. Spring for Bones. Add expressive, lifelike animation properties like spring and bounce with motion attributes for the Bones tool. An improved inverse kinematics engine provides more realistic and complex physics movements, all within a simple, familiar interface.
Video improvements. Streamline video embedding and encoding processes with on-stage video scrubbing and a cue points property inspector. See and play back FLV components directly on the stage. Deco drawing tools. Add advanced animation effects with a comprehensive set of brushes for the Deco tool. Quickly create movement for particle phenomena like clouds or rain, and draw stylized lines or patterns with multiple objects.
Still using Flash CS3 Professional? Gain control over individual animation attributes with object-based animation, which applies tweens directly to objects instead of to keyframes. Easily make changes to motion with Bezier handles. Animate 2D objects through 3D space with exciting new 3D translation and rotation tools, which allow you to animate along the x, y, and z axes. Apply local or global transformations to any object.
Leverage the Adobe Media Encoder to benefit from advanced video capabilities including embedded cue points, alpha channel support, and high-quality codecs. Authoring for Adobe AIR. Deliver interactive experiences to the desktop with new integrated capability to publish to the Adobe AIR runtime. New Adobe Creative Suite interface. Boost your efficiency with intuitive panel docking and spring-loaded behaviors that streamline your interaction with tools throughout the Adobe Creative Suite editions.
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All other trademarks are the property of their respective owners Adobe Systems Incorporated. All rights reserved. Adobe Flash Professional CS6 Create and deliver rich, engaging experiences across devices Generate sprite sheets for enhanced game development workflow and deliver apps with a prepackaged Adobe AIR captive. Adobe Flash Catalyst CS5. Adobe Creative Suite 5. More freedom, speed, and power to make incredible images real. And now you can. Adobe Dreamweaver audience needs for a website.
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