T354 - Week 7 - Spring 2013
- Please turn your homework in and accompanying critique form
- After Effects (working with video, time stretching & tidbits)
- Look at artwork
- Share Midterm Project Ideas
- AE Quiz next Tuesday! (It will be similar to the Photoshop quiz.)
- Midterm projects are due next Thursday! We will have time to work
on them some in class on Tuesday
- Timing seems to be a challenge for some. Create
a work area and use the RAM preview to work on a section at a time.
You should know how to set a work area (B and N keys) to limit your real-time preview. Think about the order you bring elements in on the screen and the timing
it takes to process (read) the words. A few of you are bringing on
elements to slowly and then not leaving other words up long enough
- Most of the text created in AE was extremely simple- no stroking
of the edge, no filters, no parameters (tracking, size, leading) were
changed. Strive not just for good animation, but for good design. You
ought to be able to take a still image out of your animation and have
solid graphic design.
- Use high contrast to make your text
stand out from the background. You can also apply any number of filters
to make it look more interesting or organic.
After Effects (continued)
Working with video
If you need some video clips you can download the one's from Week 6 (AV folder) and these (AV2 folder). (Misc: topo map of Elkinsville)
While After Effects is not video editing software, you
can still do basic trimming and a number of interesting video
effects. (Yes, if you really wanted to, you could edit video, but it's
not well suited for this.) However, manipulating video and compositing
video with animations and other elements is one of the things that After
Effects is best known for. It's also a good tool for
making looping motion menus for DVDs.
Codecs: Often one needs a particluar codec to output an animation for a client. Many manufacturers are good at providing their codecs for free (withouth the editing software) as they want people to be able to make their files as widely available as possible. For instance the Avid codecs can be found here.
Importing video - If AE is on the same computer or hard drive that you
are editing video, then you can import directly from Final Cut Pro's
"Capture Scratch" folder or from Avid's "Avid MediaFiles" folder. Otherwise,
you'll have to copy the individual clips you need into your AE media
Setting up your compositions
If you are working with a particular kind of video (DV for instance),
start off with a comp that matches your target codec. But if you need
to, you can always place one comp inside another comp to re-size it.
For example you can place a 720 x 540 comp inside of a 720 x 480 comp
to output it for DV.
Clips can be trimmed in the Timeline or in the Layer Window. Import a
video clip into the Timeline. Slide the layer to the right a little so
it doesn't start at 0. Double click the clip in the Timeline to open the
layer window. The display shows 3 sets of counter numbers: in point, out
point and duration.
Position the Layer window so you can see the Timeline. Note the in and
out points in the Timeline. Move the time indicator somewhere near the
beginning of the clip and press the in-point button. The duration value
in the Layer window updates accordingly and the clip slides forward in
Now try dragging the triangular handle in the Timeline. This is another
way you can move in and out points.
As you may know, pressing the left bracket [ button re-positions the
layer to begin at wherever the time indicator is. With video clips, it
will reposition the layer's in point to the current time indicator.
Once you have a video clip (or any other layer that changes over time)
in your Timeline, you may want to slide the video around without messing
up your in and out points relative to the Timeline. In other words you
want to do a slip edit.
Position the video clip so you can see the in and out points. Select
the Pan Behind tool from the Tools palette and position the pointer over
the video clips. It changes into a left-right arrow. You're now in Slip
mode. Try dragging the pointer to the left and right with your video clip
layer selected. It slides the clip around while retaining the in and out
points relative to the Timeline.
Time Stretching is easy in After Effects. As with most effects, there
are a number of ways you can access it.
- With the layer highlighted in the Timeline, select: Layer -> Time
Stretch to open the Time Stretch window.
- Control click or right-click on the headings in the TImeline and turn
on Stretch (If it's not already on). Stretch values will appear in the
Timeline. Click on one to open the Time Stretch window.
In the Time Stretch window you can either enter a value other than 100%
or make a new duration.
Note that you can also select a different item to hold in place other
than the Layer in point, (which is the default as it's what we usually
expect when we enable slow motion or fast motion).
Note: Time stretching is NOT a good way to change the duration of still
Time remapping is a bit more interesting than simple time stretching.
You can use it to vary time and the rate in which motion changes occur.
To use it first import a comp or a video clip. (something with movement)
The, highlight the layer and select Layer
-> Enable Time Remapping.
Expand the layer's arrows to show the time remapping controls. You'll
see two keyframes. One at the start of the clip, the other at the end.
What the numbers mean:
The number next to Time remap shows what frame is being displayed.
Value Time: The max is the length of the movie file. The value line is
a visual cue as to what parts are playing and if they are playing forward
Velocity time: The middle number is the important one. It shows how
fast the movie is playing and if it’s going forward or backward (uses
a minus sign for backward) The numbers at the top & bottom simply
show the maximum time change used.
Try adding a couple keyframes in the middle. Then you can slide the
time values up and down, or the keyframes left and right.
You can duplicate many popular wipe transitions with the transition
tools. To use these you'll need to set two keyframes, one at the beginning
of the transition and one at the end.
Exercise: making video walls, split screen effects & video in a window:
Import four video clips (pretend they’re movies) Try to make a
video wall (or the beginning of the Brady Bunch).
It helps to first set guides. To set guides, you must first show the
rulers in your composition window. (Command-R). Drag from the edges to
bring in a guide. You can set, snap, clear, hide, and lock them under
your "View" drop-down menu.
Keep the video a tad larger than
the quadrants. That way you can trim
artifacts found at the bottom of a video clip.
When you import video, or movies or graphics with alpha channels, it's
important to make sure that they are being interpreted correctly. To
get to the interpret footage window, right click on the footage and choose
main-> interpret footage.
In this area you can set important parameters. If you need to, you
can go back and change them later. It's important to select the right
field order (upper or lower) or your video clips will stutter. Whether
you should use upper or lower field first is determined by the particular
hardware of the video editing system. One thing to remember is that DV
and most firewire-captured video is lower field first.
Once useful parameter in this area is the loop
__ times function. If you want a movie to loop, simply bump
the number from 1 up to something higher.
In-class "Time" Exercise:
- Make a D1-sized 4 x 3 comp about 20 seconds long.
- Incorporate at least two of the provided
video clips (or your own) in an artful way suitable for a TV graphic. Apply an obvious time-remap to
one clip and time stretch to another. Include a wipe of some type between 2 layers.
- Render out a D1-sized 4 x 3 H.264 movie and place it in your week 7 folder. Make
sure your it's called "time".
Miscellaneous AE Tips
- To make a glint, start off by making a tall solid in your comp.
- Turn on the preserve transparency (T) of the glint layer
- Use a mask to feather the edges
- Turn it diagonally
- Use position keyframes to move the glint solid across the layer
you'd like to glint
- You will likely need to precompose the glint with the layer you are
These are the same modes available in Photoshop. They provide many interesting ways to blend layers.
Each frame of a 15 FPS animation or movie will be duplicated in a 30
FPS comp. Some movements might not appear as smooth since frames will
be repeated. Frame blending interpolates between the different frames.
While it is a good thing to use- it takes longer to render. Click the
box under the movie frame icon to turn it on.
5-point exercise for Thursday (Carry out on your own):
Pan and Scan with Anchor Points
- Carry out the "Smooth Operator" anchor point pan/scan tutorial that starts on page 64. However - Use your own images instead of the ones in the book and make sure your composition is HD.
- Use at least 2 images (they must be bigger than the canvas of course). Try to
get a smooth motion to begin and end the imitation camera move.
- HINT: It helps to open up the layer window in another window and select "anchor point path" from the layer's selection menu
- Add some audio to go along with your move. Make sure it fades
out at the end of your movie.
- Place a title or element of text in your composition. Make sure it is nicely sized and treated.
- Add an animated glint to the text (see p218)
- Place a full-sized H.264 version
in your week 7 folder.
- Make sure it's called "panscan"
- Read chapter 12 of the Meyer book
- Review for Tuesday's AE quiz. (Assume it
covers all of the After Effects lectures and chapters 1-12 of the Meyer
- After the quiz, the rest of the time is free work time so you can polish your midterm projects.
- Turn in and review Midterm Projects & turn in critiques (Thursday)
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