after effects slow motion warping

after effects slow motion warping

As a recent convert to Adobe Premiere one of my favorite discoveries is the Rate Stretch tool. It allows you to visually pull the length of a clip to fill how ever much time you need, then immediately preview the results. As someone who uses a lot of b-roll and slow motion in his filmmaking this tool is a serious time-saver. (check out the video after the jump)

The only problem with the Rate Stretch tool is the quality of the motion quality. In order for Premiere to slow the clip down it has to create new frames, and the more you slow it down the more frames Premiere has to create out of thin air. Premiere does a decent job of this, but most of the times I need a lot better than "decent" - I need "amazing".

In order to get great results you need something like Pixel Motion (within After Effects) to really get top-quality slow motion. In the past that meant slowing the clips down in Final Cut, exporting them into AE, applying the effect, exporting them back into FCP and hoping I guessed right on the slow down rate. 
(if not, I get to repeat the whole process again)

Enter Dynamic Linking...

Using Dynamic Linking allows you to spend 98% of your time working in the editor, actually crafting stories. (you'll need the Production Premium suite to rock this) Here's the workflow -
1. Edit your entire sequence in Premiere; use the Rate Stretch tool to get the slow motion clips where you want them. (don't worry about the playback quality at this point)

2. Right-click the clip you've slowed down and select "Replace with After Effects Composition". After Effects will automatically open with a new project based on the clip.

3. In After Effects timeline click the "Enables Frame Blending on all layers with the Frame Blend switch set" button to enable frame blending (pictured below).

4. Next, click the Frame Blend radio button twice so the line becomes solid. This tells AE to use Pixel Motion high-quality frame blending.

5. Hit "Save" in After Effects.

6. You're done! Head back over to Premiere and your changes will be reflected in the clip on the sequence timeline.

Depending on the power of the machine you're editing on you should be able to immediately preview the improved frame blending. The great news is that you don't need to render, at all, until you're ready to do your final render in Premiere. It's that simple.

This technique can be used for a number of different operations like color grading and noise reduction. I personally prefer to do most of these processes in the editor itself; high-quality time stretching just isn't possible at this point without After Effects. Check out this video to see the difference in quality -

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after effects Pre-Comps and Master Compositions

after effects Pre-Comps and Master Compositions

Combining two Adobe After Effects compositions into a single composition is helpful when you want to re-use a composition multiple times. Additionally, it is useful for applying complex changes to a group of compositions at once. Nesting is the process through which you combine compositions into a single composition, known as a nested composition or a precomposition. The entire set of compositions that are related to each other through nesting are known as the composition network.
Since switching to Premiere Pro, my editing workflow has been to lock picture in Premiere and then finish in After Effects. To date I've been using a workflow similar to the one I'd use when editing in Final Cut Pro, which was to import a final sequence into After Effects (either as an XML or by using Premiere Pro as an intermediary), and apply color correction, titling, and other effects in AE. While this approach gives a very high quality output, a problem rears its head if you want to make changes to the edit after "locking" picture. So what's the best workflow between Premiere and After Effects?

Once I change the coloring and add the final titles and effects, I find my picture lock often becomes unlocked. But now if I make changes to my edit in Premiere, they aren't reflected in AE, and so I find myself making edits in AE, which is far from ideal given the program's lack of real-time editing features (and editing tools like trim, slide, etc). And then if I need to revisit the edit in Premiere, I in fact have a newer edit in AE than I do in PPro. It's a version control nightmare. However, it's hard to beat from a price:quality perspective — this is the reason this workflow is spotlighted in Stu Maschwitz's DV Rebel's Guide. In theory, Adobe has designed Dynamic Link to solve this problem. But does it?

As far as I can tell, not really. Dynamic Link gives you two options, both of which are nice to have, but neither of which accomplishes what I'm looking for. The two options are: one, you can create an After Effects composition within Premiere Pro, and have that comp dynamically update in your Premiere sequence when you make changes in AE. The second option is to use Dynamic Link to open a Premiere project in After Effects, at which point you can import sequences and have them show up in AE — as a single object. There's no way to drill down to the individual clips to make changes unless you import a Premiere sequence, at which point I'm back in the same boat I was in before when using Final Cut (though it's worth noting that Premiere's integration is far more advanced, as most effects and transitions carry over flawlessly). While I'm happy to have the ability to open a Premiere Pro sequence in After Effects, one can't but wonder if the two programs could be combined in order to prevent this non-ideal workflow. As it is, once you go AE, it's hard to go back. At least, this is my understanding — am I missing something? Is all of this just confusing? Please share your experiences in the comments.

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Rendering multiple cameras in after effects

Rendering multiple cameras in after effects 

Adjustable Mask Edge Feathering
The new Mask Feather Tool (located in the Pen Tool drop-down palette) in After Effects CS6 allows you to select specific points along the edge of your mask to adjust the amount and direction of the feathering you need. This eliminates the necessity to build multiple masks that have to be tracked or modified over time, and instead you can concentrate on one adjustable edge mask around objects you intend to roto. You can select existing Vertices along the path with the Mask Feather Tool and add an adjustment handle between the selected point to create a soft transition, or select several points to confine your adjustments to specific regions. And of course all of the Mask Feather Tool points are keyframable along the Timeline.
Adobe has addressed many user requests in the release of After Effects CS6 and provided several powerful features to help motion graphics designers and filmmakers produce better content without needing to rely on a lot of third-party plug-ins or apps. The totally revamped 3D environment now includes bendable footage and comps and extrusions for text and vector shapes - all integrated into an interactive raytracing environment where the various 3D layers truly interact with each other. Adjustable mask feathering, Rolling Shutter repair for DSLR footage and an amazing 3D Camera tracker have also been added to the mix. Built on top of major performance enhancements and caching features, makes After Effects CS6 a must-have update.
Rolling Shutter Repair
One of the most problematic issues with DSLR footage is the rolling shutter or "jello effect" caused by rapid panning against vertical lines in your scene - such as the edges of buildings, windows, busses, poles, trees, etc. Adobe has included the Rolling Shutter Repair effect to After Effects CS6 (also included in Premiere Pro CS6 as well). While the effect is applied directly to the footage layer, it can reduce the effect greatly but may require some additional tweaking and keyframing to control the amount of correction on certain footage.
Learn how to use the new 3D Camera Tracker by creating a 3D project that adds animated text to a movie. See how the tracker works in the background to analyze a scene and then automates the addition of an animated 3D camera with text. See how to adjust, manipulate and add animators and other effects to the text for amazing results.
Place and track 3D elements on 2D footage for precise visual effects and motion graphics. The 3D camera tracker automatically analyzes 2D footage in the background and places elements on that footage, with complete control over depth of field, shadows, and reflections.

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Adobe After Effects CS6 Importing,Composition Settings, and Twitch

Adobe After Effects CS6 Importing,Composition Settings, and Twitch 

Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.

Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.

To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.

Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.

Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.

1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.

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how to fake a camera shake in After Effects

Anything is possible. It just takes a little imagination. To "shake" the camera, use the wiggle expression on the camera's X, Y, and/or Z axis (depending on your preference) (Or keep the camera still, link/parent all of the shots/layers to a null, and wiggle the null)
Adding a shot into a moving shot may take some keyframing and/or motion tracking, again based on your preferences. But it can be done. There are many different variables that can make up the shot, again on personal prefs, that can dictate whether a smaller or larger keyed shot can be used in a larger/smaller shot. Use your own discretion. Everything depends on your tastes as an artist.
Create a light and change light settings
A light layer can affect the colors of the 3D layers that it shines on, depending on the light's settings and the Material Options properties of the 3D layers. Each light, by default, points to its point of interest.
Lights can be used to illuminate 3D layers and to cast shadows. You can use lights to match lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, you can use light layers to create the appearance of light streaming through a video layer as if it were made of stained glass.
You can animate all of the settings for a light, except for the light type and the Casts Shadows property.You can specify which 3D layers a light affects by designating the light as an adjustment layer: place the light in the Timeline panel above the layers on which you want it to shine. Layers that are above a light adjustment layer in the layer stacking order in the Timeline panel do not receive the light, regardless of the positions of the layers in the Composition panel.
Create a light
Choose Layer > New > Light, or press Ctrl+Alt+Shift+L (Windows) or Command+Option+Shift+L (Mac OS).
Note: By default, new layers begin at the beginning of the composition duration. You can instead choose to have new layers begin at the current time by deselecting the Create Layers At Composition Start Time preference (Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS)).
Change light settings
Double-click a light layer in the Timeline panel or select the layer and choose Layer > Light Settings.
Select Preview in the Light Settings dialog box to show results in the Composition panel as you modify settings in the dialog box.
Light settings
Light Type
Parallel emits directional, unconstrained light from an infinitely distant source, approximating the light from a source like the Sun. Spot emits light from a source that is constrained by a cone, like a flashlight or a spotlight used in stage productions. Point emits unconstrained omnidirectional light, like the rays from a bare light bulb. Ambient creates light that has no source but rather contributes to the overall brightness of a scene and casts no shadows.
Note: Because the position in space of an Ambient light does not affect its influence on other layers, an Ambient light does not have an icon in the Composition panel.
Intensity
The brightness of the light. Negative values create nonlight. Nonlight subtracts color from a layer. For example, if a layer is already lit, creating a directional light with negative values also pointing at that layer darkens an area on the layer.
Color
The color of the light.
Cone Angle
The angle of the cone surrounding the source of a light, which determines the width of the beam at a distance. This control is active only if Spot is selected for Light Type. The cone angle of a Spot light is indicated by the shape of the light icon in the Composition panel.
Note: In After Effects CS6, a selected spot light's cone can be extended to the point of interest.
Cone Feather
The edge softness of a spotlight. This control is active only if Spot is selected for Light Type.
Falloff (After Effects CS5.5 and later)
The type of falloff for a parallel, spot or point light. Falloff describes how a light's intensity is lessened over distance.
For details, tutorials, and resources about light falloff, see this article on the Adobe website.
Falloff types include the following:
None
Illumination does not decrease as the distance between the layer and the light increases.
Smooth
Indicates a smooth linear falloff starting at the Falloff Start radius and extending the length specified by Falloff Distance.
Inverse Square Clamped
Indicates a physically accurate falloff starting at the Falloff Start radius and decreasing proportionally to the inverse square of the distance away.
Radius (After Effects CS5.5 and later)
Specifies the radius of falloff from a light. Inside this distance, the light is a constant light. Outside this distance, the light falls off.
Falloff Distance (After Effects CS5.5 and later)
Specifies the distance a light falls off from a light.
Casts Shadows
Specifies whether the light source causes a layer to cast a shadow. The Accepts Shadows material option must be On for a layer to receive a shadow; this setting is the default. The Casts Shadows material option must be On for a layer to cast shadows; this setting is not the default.
Press Alt+Shift+C (Windows) or Option+Shift+C (Mac OS) to toggle Casts Shadows for selected layers. Press AA to show Material Options properties in the Timeline panel.
Shadow Darkness
Sets the darkness of the shadow. This control is active only if Cast Shadows is selected.
Shadow Diffusion
Sets the softness of a shadow based on its apparent distance from the shadowing layer. Larger values create softer shadows. This control is active only if Casts Shadows is selected.

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