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Returns PropertyGroup object, or null if the count reaches the containing layer. Page: 48 Choose a workspace from the Workspace menu in the Tools panel. This attribute only has an effect when After Effects is run from the Windows command line. Animating text Page: 41 Ugide the top To the top rasterization means that graphics stay sharp as they are scaled up.
 
 

Adobe after effects cs6 guide pdf free. Adobe After Effects CS6 Digital Classroom

 

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.

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.

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.

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. 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. 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. 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.

Adobe After Effects CS4 manual pages. Adobe Photoshop CC manual pages. Adobe Illustrator CC manual pages. Adobe Photoshop CS6 manual pages. Adobe InDesign CC manual pages. Adobe Premiere Pro CC manual pages. 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. The index numbering of a collection starts with 1, not 0. Methods [] Retrieves an object in the collection by its index number. The first object is at index 1. All methods and attributes of AVItem and Item, in addition to those listed below, are available when working with CompItem.

Example Given that the first item in the project is a CompItem, the following code displays two alerts. The first shows the number of layers in the CompItem, and the second shows the name of the last layer in the CompItem.

The value is null if the composition contains no enabled camera layers. Type CameraLayer object; read-only. The three array values specify the red, green, and blue components of the color. Type An array containing three floating-point values, [R, G, B], in the range [0. CompItem displayStartTime attribute app. CompItem draft3d attribute app. This corresponds to the value of the Draft 3D button in the Composition panel.

CompItem dropFrame attribute app. When false, indicates non-drop-frame timecode. This corresponds to the setting in the Composition Settings dialog box. CompItem duplicate method app. Returns CompItem object. CompItem frameBlending attribute app. Corresponds to the value of the Frame Blending button in the Composition panel. CompItem frameDuration attribute app. This is the inverse of the f rame R ate value frames-per-second.

CompItem hideShyLayers attribute app. When false, all layers are visible, including those whose shy value is true. CompItem layer method app. An integer in the range [ The rel Ind e x value is added to the index value of this layer to find the position of the desired layer. An integer in the range [1—ot he r- L aye r. This value is added to the ot he r L aye r value to derive the absolute index of the layer to return.

Returns Layer object. CompItem layers attribute app. Type LayerCollection object; read-only. CompItem motionBlur attribute app. Corresponds to the value of the Motion Blur button in the Composition panel. CompItem numLayers attribute app.

CompItem openInViewer method app. Returns Viewer object for the Composition panel, or null if the composition could not be opened. CompItem preserveNestedFrameRate attribute app. CompItem renderer attribute app. Allowed values are the members of c omp Ite m. CompItem renderers attribute app. Member strings reflect installed modules, as seen in the Advanced tab of the Composition Settings dialog box. Type Array of strings; read-only.

CompItem resolutionFactor attribute app. The two values in the array specify how many pixels to skip when sampling; the first number controls horizontal sampling, the second controls vertical sampling. Full resolution is [1,1], half resolution is [2,2], and quarter resolution is [4,4]. The default is [1,1]. Type Array of two integers in the range [ This is a 0-based array the first object is at index 0. Type Array of Layer objects; read-only.

CompItem selectedProperties attribute app. The first property is at index position 0. Type Array of Property and PropertyGroup objects; read-only. CompItem shutterAngle attribute app. This corresponds to the Shutter Angle setting in the Advanced tab of the Composition Settings dialog box. CompItem shutterPhase attribute app. This corresponds to the Shutter Phase setting in the Advanced tab of the Composition Settings dialog box.

Type Integer in the range [— CompItem workAreaDuration attribute app. This is the difference of the start-point and end-point times of the Composition work area. CompItem workAreaStart attribute app. All methods and attributes of FootageSource, in addition to those listed below, are available when working with FileSource.

FileSource file attribute app. Type File object; read-only. FileSource missingFootagePath attribute app. This method can be called only on a mainS ource , not a prox yS ou rce. It can contain various types of items footage, compositions, solids as well as other folders. FolderItem item method app. Parameters index An integer, the position index of the item to retrieve.

The first item is at index 1. Returns Item object. Unlike the ItemCollection in the Project object, this collection contains only the top-level items in the folder. Top-level within the folder is not the same as top-level within the project. Only those items that are top-level in the root folder are also top-level in the Project. Type ItemCollection object; read only. FolderItem numItems attribute app. If the folder contains another folder, only the FolderItem for that folder is counted, not any subitems contained in it.

Type Integer; read only. All methods and attributes of AVItem and Item, in addition to those listed below, are available when working with FootageItem. Otherwise it is null. Type File object; read only. The attribute is read-only. FootageItem openInViewer method app. NOTE: Missing and placeholder footage can be opened using this method, but cannot manually via double- clicking it. Returns Viewer object for the Footage panel, or null if the footage could not be opened.

FootageItem replace method app. In addition to loading the file, the method creates a new FileSource object for the file and sets mainS ource to that object.

The method preserves interpretation parameters from the previous m a i n S ou rc e object. If the specified file has an unlabeled alpha channel, the method estimates the alpha interpretation. FootageItem replaceWithPlaceholder method app. Creates a new PlaceholderSource object, sets its values from the parameters, and sets m a i n S ou rc e to that object. Parameters name A string containing the name of the placeholder. FootageItem replaceWithSequence method app. In addition to loading the file, the method creates a new FileSource object for the file and sets m ai nS ou rc e to that object.

Parameters file An ExtendScript File object for the first file in the sequence to be used as the footage main source. FootageItem replaceWithSolid method app. Creates a new SolidSource object, sets its values from the parameters, and sets m ai n S ou rc e to that object. If hasAlpha is false, this attribute has no relevant meaning. One of: A lp ha Mo de. If set to 0, the n at ive Fr ame R ate is used instead. It is an error to set this value if Fo ot ageS ou rc e.

OF F, then this is automatically set to the value of nat ive FrameR ate. FootageSource displayFrameRate attribute app. It is an error to set this attribute if i sSt i l l is true. It is an error to set this value to Fi el d S e p arat i onTy p e. If hasA lpha is false, no change is made. FootageSource guessPulldown method app.

If i s St i l l is true, no change is made. Parameters met ho d The method to use for estimation. In this case, the attributes a lpha Mo d e , i nve r t A lpha , and pre mu l C ol or have valid values. When false, those attributes have no relevant meaning for the footage. FootageSource highQualityFieldSeparation attribute app.

FootageSource invertAlpha attribute app. This attribute is valid only if an alpha is present. If h asA lp ha is false, or if a lpha Mo d e is A lp haMo de. FootageSource isStill attribute app. Examples of still footage are JPEG files, solids, and placeholders with duration of 0. Examples of non-still footage are movie files, sound files, sequences, and placeholders of non-zero duration. FootageSource nativeFrameRate attribute app.

FootageSource premulColor attribute app. This attribute is valid only if the a lpha Mo d e is a lph aMo d e. Type Array of three floating-point values [ R , G , B ] , in the range [0. FootageSource removePulldown attribute app. It is an error to attempt to set this to a value other than P u l l d ow nPhas e. Remove Pu l l dow n. The constructor takes an optional parameter, an ExtendScript File object for the file.

If it is not supplied, you must explicitly set the value of the f i l e attribute before using the object with the i mp or t Fi l e method. For example: n e w Imp or t O pt i ons. If this method returns true, you can set the given type as the value of the i mp or t As attribute.

Parameters t yp e The type of file that can be imported. If a file is set in the constructor, you can access it through this attribute. ImportOptions forceAlphabetical attribute imp or tO pti on s.

ImportOptions importAs attribute imp or tO pti on s. Before setting, use c an Imp or t As to check that a given file can be imported as the source of the given object type.

One of: Imp or t AsTy p e. Example This example gets the second item from the project and checks that it is a folder. It then removes from the folder any top-level item that is not currently selected. It also checks to make sure that, for each item in the folder, the parent is properly set to the correct folder. The comment is for the user’s purpose only; it has no effect on the item’s appearance or behavior.

Item id attribute app. The value of the ID remains the same when the project is saved to a file and later reloaded. However, when you import this project into another project, new IDs are assigned to all items in the imported project.

The ID is not displayed anywhere in the user interface. Item label attribute app. Colors are represented by their number 0 for None, or 1 to 16 for one of the preset colors in the Labels preferences. Custom label colors cannot be set programmatically. Item name attribute app. Item parentFolder attribute app. If this item is at the top level of the project, this is the project’s root folder app. Example This script creates a new FolderItem in the Project panel and moves compositions into it.

If the item is a FolderItem, all the items contained in the folder are also removed from the project. No files or folders are removed from disk. Item selected attribute app. Multiple items can be selected at the same time. Set to true to select the item programmatically, or to false to deselect it. Item typeName attribute app. The ItemCollection belonging to a Project object contains all the Item objects for items in the project.

The ItemCollection belonging to a FolderItem object contains all the Item objects for items in that folder.

All methods and attributes of Collection, in addition to those listed below, are available when working with ItemCollection. Creates and returns a new CompItem object and adds it to this collection. Adobe Dreamweaver Essentials.

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(PDF) After-Effects-CS6-Scripting-Guide | Far Shad –

 

Adobe Photoshop is a raster graphics editor developed and fs6 by Adobe Inc. It was originally created in by Thomas and John Knoll. Since then, the software has become the industry standard not only in raster graphics editing, but in digital art as a whole.

The software’s name is often colloquially used as a verb e. In addition to raster graphics, Photoshop has limited abilities to edit or render text and vector graphics especially through clipping path for the latteras well as 3D graphics and video.

Its feature set can be expanded by plug-ins ; programs developed and distributed independently of Photoshop that run inside it and afteer new or enhanced features. Gree naming scheme was initially based on version numbers.

However, in Adbe following the introduction of Creative Suite brandingeach new version of Photoshop was designated with ” CS ” plus a number; e. With the introduction of the Creative Cloud branding in June and in turn, the change of the ” CS ” suffix to ” CC “Photoshop’s licensing scheme was changed to that of software as a service subscription model.

As of NovemberAdobe has also released a full version of Photoshop for the iPadand while initially limited, Adobe plans to bring more features to Photoshop for iPad. Photoshop was developed in by two brothers Thomas and John Knollwho sold the daobe license to Adobe Systems Incorporated in Thomas Knoll, a Ph. Thomas took a six-month break from his studies in to collaborate with his brother on the adobe after effects cs6 guide pdf free.

Thomas renamed the program ImagePro, but the name was already taken. Adpbe this time, John traveled to Silicon Valley and gave a demonstration of the program to engineers at Apple and Russell Brown, art director at Adobe. Both showings were successful, and Adobe decided to purchase microsoft word 2016 not working adobe after effects cs6 guide pdf free to distribute in September Photoshop 1.

The handling of ldf slowly improved with c6 release from Adobe and Photoshop quickly became the industry erfects in digital color editing. At the time Photoshop 1. The list price of Photoshop 1. Photoshop was initially adobe premiere pro plugins free download for windows 10 available on Macintosh. The Windows port led to Photoshop reaching a wider mass market audience as Aftet ‘s global reach expanded within the next few years. Photoshop files have default file extension as.

PSDwhich stands for ” P hoto s hop D ocument”. This is in contrast to посетить страницу источник other file formats e.

JPG or. GIF that restrict content to provide streamlined, predictable functionality. A PSD file has a maximum height and frew of 30, pixels, and a length limit of two gigabytes. These formats are required to use the file in guice or on the web. Photoshop can also create and use files with the extension. PSB, which stands for “Photoshop Big” also known as “large document format”.

The dimension limit was qdobe chosen arbitrarily by Adobe, not based on computer arithmetic constraints it is not adobe after effects cs6 guide pdf free to a power of two, as is 30, but for ease of software testing.

Photoshop functionality can be extended by add-on programs called Photoshop plugins or plug-ins. Adobe creates some plugins, such as Adobe Camera Raw, but third-party companies develop most plugins, according to Adobe’s specifications.

Some are free and some are commercial software. Most plugins work with only Photoshop or Photoshop-compatible hosts, but a few can also be run as standalone applications. There are various types of plugins, such as filter, export, import, selection, color correction, and automation. The most popular plugins are the источник plugins also known as a 8bf pluginsavailable under the Filter menu in Photoshop.

Filter plugins can either modify the current image or create content. Below are some popular types of plugins, and some well-known companies associated with them:. Adobe Camera Raw also adone as ACR and Camera Raw is a special plugin, supplied free by Adobe, used primarily to read and process raw image files so that the resulting images can be processed by Photoshop.

Upon loading Photoshop, a sidebar with a variety of tools with multiple image-editing functions appears to the left of the screen. These tools typically fall under the categories of drawing ; painting ; adobe after effects cs6 guide pdf free and adobe after effects cs6 guide pdf free ; selection ; typing ; and retouching. These can be expanded to reveal similar tools. In some newer versions hovering along adobe after effects cs6 guide pdf free tools gives a small Video glimpse of the tool.

Photoshop includes a few versions of the pen tool. The pen tool creates precise paths that can be manipulated using anchor points. The free form pen tool allows the user adoobe draw paths freehand, and with the magnetic adobe after effects cs6 guide pdf free tool, the drawn path attaches closely to outlines of objects in an image, which is useful for isolating them from a background.

The Wdobe Stamp tool duplicates one part of an image to another part of the same image by way of a aftsr. The duplication is either in full or in part depending on the mode. The user adobe after effects cs6 guide pdf free also clone part of one layer to another layer. The Clone Stamp tool is useful for duplicating objects or removing a defect in an image. Photoshop provides an array of shape tools including rectangles, rounded rectangles, ellipses, polygons and lines. These shapes can be manipulated by the pen tool, direct selection tool etc.

In addition, Photoshop provides its own shapes like animals, signs and plants. The eyedropper tool selects a color from an area of the image that is clicked, and samples it for future use.

Selection tools are asobe to select all or any part of a picture to perform cut, copy, edit, or retouching operations. The crop tool can be used to select a particular area of an image and discard the portions outside the chosen section. This tool assists in creating a focus point on an image and unnecessary or excess space. The crop tool is in the tools palette, which is located on the right side of the document. By placing the cursor over the image, the user can drag the cursor to the desired area.

Once the Enter key is pressed, the area outside the rectangle will adobe after effects cs6 guide pdf free cropped. The area outside the adlbe is the adobe after effects cs6 guide pdf free data, which allows for the file size to be decreased.

The slice and slice select tools, like the crop tool, are used in isolating parts of images. The slice tool can be used to divide afyer image into different sections, and these separate по этой ссылке can be used as pieces of a web page design once HTML and CSS are adobe after effects cs6 guide pdf free. The move tool can be used to drag the entirety of a single layer or more if they are selected.

Alternatively, once an area of an image is highlighted, the move tool can be used to manually relocate the selected piece to anywhere on the canvas. The marquee is a tool that adobe after effects cs6 guide pdf free make selections that are a single row, single column, rectangular and elliptical. This tool can also crop an image; it allows for better control. In contrast to the crop tool, the marquee tool sc6 for more adjustments to the selected area before cropping.

The only marquee tool that does not allow cropping is the elliptical. Although the single row and column marquee tools allow for cropping, they are not ideal, because they only crop a line. The rectangular marquee tool edfects the preferred option. Once the tool has been selected, dragging the tool across the desired area will select it. The selected area will be outlined by dotted lines, referred to as “marching ants”. Нажмите для деталей set a specific size or ratio, freee tool options bar provides these efcects.

Before selecting an adobe after effects cs6 guide pdf free, the desired size or ratio must be set by adjusting the width and height. Any changes such effscts color, filters, location, etc.

To crop the selection, the user must go to cd6 image tab and select crop. The lasso tool is similar to the marquee tool, however, the user can make a custom selection by drawing it freehand. The regular lasso tool allows the user to have drawing capabilities. Photoshop will complete the selection once the mouse button is released.

The user may also complete the selection by connecting the end point to the starting point. Erfects “marching ants” will indicate if a selection has been made. The polygonal lasso tool will draw only straight lines, which makes it an ideal choice for images with many straight lines. Unlike the regular lasso tool, the user must continually click around the image to outline the shape.

To complete the selection, the user must connect the end point to the starting point жмите сюда like the regular lasso tool.

Magnetic lasso tool are considered the smart tool. It can do the same as the other two, but it can also detect the edges of an image once the user selects a starting point. It detects by examining the color pixels as the egfects moves over the desired area. Closing effecst selection is the same as the guidf two, which should also should display the “marching ants” once the selection has been closed. The quick selection tool selects areas based on edges, similarly to the magnetic lasso tool.

The difference between this tool ugide the lasso tool is that there is no starting and ending point. For this reason, the selected area can be added onto as much as possible without starting over. By dragging the cursor over the desired area, the quick selection tool detects the edges of the image. The “marching ants” allow the user to daobe what is currently being selected.

Once the user is done, the selected area can be edited without affecting the rest of the adobe after effects cs6 guide pdf free. One of the features that makes this tool adobe photoshop cs5 bagas31 user friendly is that the SHIFT key is not needed to add more to the selection; guied default, extra mouse clicks will be added to the selection rather than creating a new selection. The magic wand tool selects areas based on pixels of similar values.