Index
-- (decrement operator), JavaScript, 325
// (forward slashes), in JavaScript, 345
1.0 Gamma
blending colors, 368–369
fire effects, 449
multipass rendering, 410
2.5D tracking, 250–251
2D
adjustment layers and, 119
applying 2D layer as decal on 3D layer, 334–335
keyboard shortcuts for 2D layers, 46
render order of 2D layers, 121
shapes in, 91
track mattes and, 105
3D
adding dimensionality to fire scene, 451–452
applying 2D layer as decal on 3D layer, 334–335
Collapse Transformation settings, 116
faking 3D tracking, 250–251
models in Photoshop, 281–283
motion tracking, 263–266
multipass compositing, 406–411
previewing in AE, 284–286
projecting still images into, 291–292
render order of 3D layers, 121
track mattes and, 105
4:3 film format, 309
8-bit-per-channel
color fidelity, 371–372
color values, 349–350
RGB representation, 353
16:9 film format, 309
16-bit-per-channel, 349–350
32-bit-per-channel
color values, 366–367
output and, 370–371
A
absolute time, frame rate and, 66–67
action safe overlays, 32
Add blending mode, for brightening light areas, 99–100
Add Grain tool, 299
Add mode, masks drawn in, 92
adjustment layers
adding, 431
blending modes and, 104
as guide layer, 120
uses and benefits of, 118–119
Adobe
Color management system. see Color management system
Color Picker, 360–361
Dynamic Link, 126–127
Media Encoder. see Media Encoder
Photoshop. see Photoshop
advanced color options
16-bit-per-channel composites, 349–350
32-bit-per-channel composites, 366–367
Adobe Color management system, 372–373
blending colors using 1.0 Gamma, 368–369
bypassing Color management, 381–382
Cineon (.dpx) files for storing film, 351–352
Cineon log space, 355
color fidelity, 371–372
color realism using linear HDRI, 361–363
digital film and, 355–357
display management and output simulation, 376–379
dynamic range, 352–354
HDR sources, 364–365
linear color space, 359–361
LUT (Look-Up Table), 382–384
MediaCore, 376
methods for moving beyond standard color, 369–370
mixing bit depths, 367–368
monitor calibration, 372–373
output, 370–371
output profiles, 379–380
overview of, 348–349
Project Working Space, 374–376
QuickTime issues related to Color management, 380–381
review, 384
video gamma space, 358–359
advanced composition settings
Preserve Frame Rate, 117
Preserve Resolution When Nested Controls, 118
Advanced Rotoscoping Techniques for Adobe After Effects (O’Connell), 417
advanced save options, 17
.aepx files, for XML scripts, 130
aerender application, 124–125
After Effects Expression Element Reference, 318
Almasol, Jeff
Camera-ProjectionSetup script, 292
Duplink script, 284
KeyEdUp script, 129
Pre-compose script, 110
Alpha Bias setting
creating mattes and, 186
in Keylight, 193
alpha channels
in color matching, 142–144
combining selection techniques, 81
converting RBGA to HSLA, 340–341
edge multiplication and, 85–88
mattes, 186
overview of, 77–78
paint and, 231–232
settings, 20–21
track mattes compared with, 104
Alpha Inverted Matte, track matte options, 104
Alpha Matte, track matte options, 104
Alvarez, Lloyd
Arrange Projects into Folders and Load Project or Template at Startup scripts, 111
Batch Search-n-Replace Paths script, 130
BG Render script, 125
Immigration script, 12
Layer Tagger script, 42
Render, Email, Save, and Shutdown script, 126
ambient movement effects, 426–429
amplitude, linking FOV parameter to audio track amplitude, 318–320
anaglyph, 3D previews, 284–286
Anchor Point Path, in View pop-up menu, 60–61
anchor points, repositioning, 60
Anderson Technologies, SynthEyes from, 263, 266
Angle of View, Camera Settings, 272
animated masks
articulated mattes and, 216–217
motion blur settings, 224
overview of, 96–97
animations
of anchor points, 60
bouncing ball example, 54
cameras and, 287–288
copying and pasting, 54–55
ease curves for fixing, 49–50
presets for, 34
primary and secondary, 427
rotoscoping and paint and, 210
separating X, Y, and Z animation curves, 50–52
shell ejecting from gun, 439
on Timeline, 48–49
triggering animated effect using audio, 343–346
triggering animation at markers, 325–326
wind and ambient motion effects, 427–428
arguments, of expressions, 253–254
Arrange Projects into Folders script (Alvarez), 111
arrays, JavaScript, 341
Arri Alexa camera, 206
arrow keys, for fine point placement, 219
articulated mattes
holding cache intact, 216–217
overview of, 216
Rotobeziers and, 221–222
rotoscoping organic shapes, 217–221
artifacts, camera lens, 304–305
aspect ratio
cameras and, 304–305
film formats, 309–310
attributes
in expression language, 319
marker attributes. see marker attributes
audio
linking effect to audio track, 318–320
triggering effect with, 343–346
Audio Settings
Output modules options, 36
in project settings, 18–19
Auto Bezier, preset keyframe transitions, 54
Auto Levels, color correction, 146
Auto-Save, advanced save options, 17–18
Auto-trace, automated method for creating masks, 79
B
background rendering
aerender application, 124–125
Media Encoder, 126–127
network rendering, 125
overview of, 124
Watch Folder for, 126
backgrounds, 32–33
adding background layer, 431
for color keying, 175
guide layers for temporary, 120
lighting, 207
backlighting, 397–398
banding, as symptom of overadjusting colors, 148
Batch Search-n-Replace Paths script (Alvarez), 130
Beam effect, 442
Bezier handles, dragging, 218
Bezier masks, 90–91
BG Render script (Alvarez), 125
Bias setting. see Alpha Bias setting
billowing smoke
Liquify and, 425–426
Mesh Warp and, 425
overview of, 423–425
Birn, Jeremy, 407
bit depth
16-bit-per-channel, 349–350
32-bit-per-channel, 366–367
mixing, 367–368
bitmap alpha, limitations as selection technique, 82
black
black-to-white gradients, 429
Clip Black control, 187, 192–194
converting color to black and white, 393–394
flashing blacks, 417
Input Black. see Input Black
Output Black. see Output Black
Black & White effect, 394
bleach-bypass method, color looks and, 392
blending colors, 1.0 Gamma, 368–369, 410
blending modes
Add and Screen modes, 99–100
adjustment layers and, 104, 119
Collapse Transformation settings, 116
combining selection techniques, 81
Difference mode, 101
fire composites with, 449
Multiply mode, 100–101
Overlay mode, 101
render order of, 121
blue channel. see also RGB (red green, blue)
color matching techniques under dramatic light, 167
color matching techniques under ordinary light, 164–165
color matching techniques when there is not reference, 170
individual channels used in color matching, 142–144
bluescreen
color keying and, 182–183
image quality and, 198
sky replacement and, 418–419
bluescreening. see color keying
blur
motion blur effect, 62–66
three methods for creating blur effects, 401
boke
cameras and, 273
creating boke blur effect, 295–297
for fuzzy focus, 293
Bordenave, Charles
ReverseMaskPath script, 97
TrackerViz script, 246
bouncing ball animation example, 54
Box Blur, 401
break statements, JavaScript, 345
brightness
adjusting with Levels Gamma control, 141–142
HSB (hue, saturation, brightness), 102, 155–156
Brightness & Contrast
comparing color adjustment tools, 137–138
gamma control lacking in, 139
Levels control and, 137
Brush Tips panel, 232–233
Brush tool
paint and, 231
shortcuts for working with, 232
bullets, hits and squibs, 440–441
bump maps, 407
C
cache
holding intact when making articulated mattes, 216–217
RAM preview and, 31
Calibration LUTs, 384
The Camera Assistant’s Manual (Elkins), 274
Camera Mapper plug-in, 293
camera projection (mapping), 290–293
camera report
lighting information in, 389
overview of, 273
on shoots, 274–276
Camera Settings (Ctrl+Shift+Y/Cmd+Shift+Y)
3D, 269
Enable Depth of Field, 294
Film Size, Focal Length, Zoom, Angle of View, 272
lens, 269–270
single-node and two-node cameras, 287–288
Camera-ProjectionSetup script (Almasol), 292
cameras
3D display technology, 280–281
3D models in Photoshop, 281–283
AE camera as tracking tool, 248–250
animations, 287–288
boke blur, 295–297
camera projection (mapping), 290–293
camera report on shoots, 274–276
chromatic aberrations, 307–308
color correction, 310–312
convergence and 3D previews, 284–286
depth of focus, 293–294
dynamic range, 355
emulating real-world camera, 273
fading while moving away from, 338
fading while turning away from, 341–343
formats and panoramas, 309–310
frame rate and realism, 308–309
grain, 298–299
grain management strategies, 299–302
lens artifacts, 304–305
lens distortion, 277–280
lens flare, 305–306
lens optics and looks, 303–304
lens settings, 269–271
overview of, 268
push and zoom, 288–290
rack focus and image planes, 294–295
reducing layer saturation as it moves away from, 335–336
review, 312
seeing with, 269
smoothing movement of, 251–254
stereo output, 283–284
storytelling and, 286
vignettes, 306–307
CameraTracker, 263
Cardeiro, Michael, 306
CC
LightRays effect, 402–403
Simple Wire Removal tool, 236
TimeBlend, 283
Channel Combiner effect
converting footage to/from YUV, 195–196
for correcting fringing in edges, 88
Channel menu
Extract, 178
Hue/Saturation, 155
channels. see color channels
Chapman, Brennan, 115
Choke Matte value, 179
choking mattes
options for, 202
overview of, 196
protecting matte edges, 179
chroma keying. see color keying
chroma subsampling, 194
chromatic aberrations, cameras, 305, 307–308
CIN files, comparing source formats, 25
Cinemascope, 309
cinematography, factors in good, 268
Cineon
.dpx files for outputting film, 371
Converter effect, 352
.dpx files for storing film, 351–352
log space, 355–357
circles of confusion, 295
clean plate, 137
climate/environment
billowing smoke, 423–426
depth cues, 416
depth maps, 416–418
fog, smoke, and mist, 420–423
overview of, 414
particulate matter in the air, 414–415
precipitation, 430–433
sky replacement, 418–420
wind and ambient motion, 426–429
Clip Black control
adjusting blacks, 187
in Keylight, 193–194
Screen Gain setting vs., 192
Clip Rollback control, in Keylight, 193–194
Clip White control
adjusting whites, 187
in Keylight, 193–194
Clone Stamp tool, creating cloud effect with, 424
Clone tool
fundamentals of, 233–235
paint and, 231
close compositions (Ctrl+Alt+W/Cmd+Opt+W), 112
CMY (cyan, magenta, yellow), 158
Collapse Transformation
precomping and, 114
when to use, 115–116
Collect Files command, 16
color
advanced options for. see advanced color options
color coding layers and project items, 41–42
customizing backgrounds, 32
fidelity of, 371–372
light and color looks, 392
realism using linear HDRI, 361–363
spaces. see encoding color space
spills, 203–204
Color Balance (HLS), 335
color channels
alpha. see alpha channels
bit depth. see bit depth
blue. see blue channel
examining footage and composition by, 38
green. see green channel
histogram for, 145–146
individual channels used in color matching, 142–144
in Levels control, 137
red. see red channel
Show Channel menu, 144
color correction
cameras and, 310–312
Color Finesse, 156–159
color grading, 310
Curves basic adjustments, 150
Curves contrast adjustments, 148
Curves gamma adjustments, 148, 152–154
Curves linear gradients, 151
Curves vs. Levels, 149
DI (digital intermediate) for, 392
direction and perspective impacting, 170–171
under dramatic lighting, 165–168
fundamental technique, 159–161
gamma slamming and, 171–172
Hue/Saturation control, 155–156
Levels brightness adjustments, 141–142
Levels color matching, 142–144
Levels contrast adjustments, 138–141
Levels control and, 137
Levels histograms, 145–148
under ordinary lighting, 161–165
overview of, 136–137
review, 172
when there is no clear reference, 168–169
color depth information, in Project panel, 8
color differencing. see color keying
Color Finesse
color correction with, 156–159
color timing effects, 395–396
creating 3D LUT using, 383
color grading. see color correction
color keying
closing holes in core mattes, 202
color spills and, 203–204
edge selection, 202–203
Extract effect for luma keying, 177–179
fine tuning and problem solving, 197–199
greenscreen and bluescreen and, 182–183
holdout mattes, 199
Linear Color Key, 179–181
linear keyers and hi-con mattes, 177
overview of, 174
procedural mattes, 174–177, 199–201
rotoscoping and paint and, 210
shooting perfect mattes, 205–208
steps in applying keys, 183–191
color management, Output modules options, 36
Color management system, Adobe
bypassing, 381–382
disabling by default, 373
display management and output simulation, 376–379
input profiles and MediaCore, 376
monitor calibration and, 372–373
output profiles, 379–380
overview of, 372
Project Working Space and, 374–376
QuickTime and, 380–381
color matching. see also color correction
under dramatic lighting, 165–168
fundamental technique, 159–161
impacted by direction and perspective, 170–171
with Levels control, 142–144
under ordinary lighting, 161–165
when there is no clear reference, 168–169
color mode, blending modes, 102
Color Picker, Adobe, 360–361
color profiles
matching color output intent to target device, 374–376
output and, 379–380
color sampling, 340–341
Color Settings, in Project Settings dialog, 18–19, 359–361
color timing
defined, 160
effects, 395–396
colorimeter, for calibrating monitors, 373
Colorista plug-in. see Magic Bullet Colorista plug-in
column views, Timeline panel, 40–42
combining selections
overlap inverted layers, 95
overlap transparent density, 93–94
overview of, 92
comments field, tags in, 41–42
comp space, coordinate system and, 332
Compander effect, HDR, 367–368
compositing overview
advanced save options, 17
alpha channel settings, 20–21
assembling the shot, 37–38
backgrounds, 32–33
caching, 31
composition settings, 26
context-clicks and keyboard shortcuts, 13–14
effects plug-ins, 33–34
fields, 22
formula for, 82
frame rate settings, 21
importing and organizing source files, 11–13
interpreting footage, 19–20
moving, combining, and consolidating projects, 16–17
multipass compositing, 406–411
multiprocessing and, 29–30
optimizing output, 37
Output modules, 36–37
overview of, 4–5
pixel aspect ratio, 23–24
preview settings, 31
previewing and refining, 9–11
project settings, 18
PSD files, 25–26
pulldown options, 22–23
relinking to missing footage, 14–15
Render Settings, 34–35
resolution and quality, 26–27
responsiveness of UI, 28–29
setting up compositions, 8–9
source formats, 24–25
workspace setup, 5–7
composition area, in Render Settings, 34
composition markers, 42
Composition Mini-Flowchart, 57
Composition panel
drawing masks in, 88–89
Exposure control, 366–367
side by side layout of Composition and Layer views, 184–185
Toggle Mask and Shape Path Visibility button in, 33
Composition Settings (Ctrl+K/Cmd+K)
Preserve Frame Rate, 117
Preserve Resolution When Nested Controls, 118
templates for, 26
composition viewers (Ctrl+Alt+Shift+N/Cmd+Opt+Shift+N), 112
compression
lossless LZW, 24
optimizing output and, 37
video, 194
concatenation, 118
Confidence settings, motion tracking, 245–246
Constant setting, for paint duration, 232
contact shadows, 404–406
context-clicks (right-clicking)
accessing effects, 34
converting image layer to guide layer, 120
filling frames with selected layers, 58
on interface items, 13–14
locating compositions in Project panel, 113–114
continue loops, motion tracking, 262–263
contrast
adjusting with Curves, 148, 154
adjusting with Levels, 138–141, 162–163
for clarity when creating mattes, 175
color matching and, 160
particulate matter in air lowering, 415
convergence, cameras, 284–286
conversion
of color to black and white, 393–394
daytime to night, 394–395
image layer to guide layer, 120
of one set of values to another, 336–338
of raw footage, 34
of YUV footage, 195–196
Convert Vertex tool, 221
Converter effect, Cineon, 352
coordinate system, layer space transforms and, 331–333
copy and paste
expressions, 317
keyframe data, 54–55
masks, 96–97
core mattes
creating multiple passes of, 188
double-matte method (core and edge) and, 193
refining, 189–190
spreading, 202
Corner Pin
options for deforming footage, 226
Red Giant Software, 261
types of tracks in Tracker panel, 242
CPUs. see processors
crash, auto-save options for, 130
CRW files, comparing source formats, 25
Curves control
basic adjustments, 150
contrast adjustments, 148
creating moody feeling for wet weather, 431
gamma adjustments, 148, 152–154
isolating and reducing highlights and shadows, 390
vs. Levels, 149
linear gradients, 151
Curves properties, in Color Finesse, 158
Custom setting, for paint duration, 232
cyclorama, 206
D
Darken mask, 94
DaVinci Resolve, 392
daytime, converting to night, 394–395
decrement operator (--), JavaScript, 325
deforming footage, 226–229
delta (difference), mattes and, 193
density, mask, 93
depth
cues, 416
infinite depth in sky replacement, 420
maps, 416–418
particulate matter influencing depth perception, 414–415
depth of focus (field)
benefits of multipass rendering, 407
boke blur, 295–297
rack focus and image planes, 294–295
Despill setting, in matte creation, 186
DI (digital intermediate), color grading, 392
Dickinson, John, 143
difference masks, 92
difference mattes, 181
Difference mode, blending modes, 101
diffraction effect, 423
DigiEffects Freeform
for 3D displacement and warps, 283
for deforming footage, 227
digital cameras (DSLR)
dynamic range and, 355
shooting perfect mattes, 205–208
digital film, 355–357
digital images, limitations of, 348–349
digital intermediate (DI), color grading, 392
Digital Lighting & Rendering (Birn), 407
digital video (DV), pixel aspect ratio and, 24
dimensionality, adding to fire effects, 451–453
direct (hard) light, managing direction of light, 388–389
direction
color matching impacted by, 170–171
of light, 388–389
neutralizing direction and hotspots, 390–391
Directional Blur, 66
Disk Cache preferences, 31
Displacement Map, 227
display screen. see monitors
Display Style, in project settings, 18–19
distortion
heat distortion effects, 445–448
lens distortion in cameras, 277–280
distortion tools
creating smoke cloud effect in, 425
Liquify and, 425–426
Mesh Warp and, 425
Dobbert, Tim, 266
dot notation, expression language using, 319
double-matte method (core and edge), 193
DPX files
comparing source formats, 25
for outputting film, 371
for storing film, 351–352
drafts, resolution and quality, 26
drag and drop
footage to Project panel, 11
panels, 7
DSLR (digital cameras)
dynamic range and, 355
shooting perfect mattes, 205–208
Duplink script (Almasol), 284
duration
altering duration of source clip (Time Stretch), 67
information listed at top of Project panel, 8
painting and, 232–233
precomping and, 114
dust busting, paint and, 236
DV (digital video), pixel aspect ratio and, 24
The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Maschwitz), 303–304, 437
DVCPRO HD, 194
DVCPRO50, 194
Dynamic Link, allowing other Adobe apps to view Project panel, 126–127
dynamic range
bit depth and, 349
limitations in viewing bright and dark areas of image, 352–354
of source images, 348
E
ease(), interpolation method, 336
ease curves
for fixing animations, 49–50
keyframes and, 289
Easy Ease, 49–50
Ebberts, Dan, 114
Edge Color Correction
in Keylight, 190
spill suppression, 197
edges
double-matte method (core and edge) and, 193
edge multiplication, 85–88
isolating when color keying, 175
optics of, 82–84
Roto Brush and, 215
selection for color keying, 202–203
Edit Original (Ctrl+E/Cmd+E), 14, 282
editing
expressions, 317
keyframe values, 52–53
effects
applying to composition without precomping, 118
generating transparency, 81
linking effect parameter to property, 318–320
plug-ins for, 33–34
tracking parent layer of effect, 333–334
triggering effect with audio, 343–346
Effects & Presets panel, 34
element reuse, 109
Elkins, David, 274
Enable Frame Blend, 67–68
Enable Time Remapping (Ctrl+Alt+T/Cmd+Opt+T), 68–69
encoding color space
Cineon log space, 355–357
comparing native video with linear, 362–363
linear color space, 359–361, 364–365
linear HDRI, 361–363
video gamma space, 358–359
Encore, 30
energy effects
hot look, 442–445
overview of, 441–442
environment. see climate/environment
Erodilation, from ObviousFX, 202
Excel, reformatting keyframe data in, 54
explosion effects
light and chunky explosions, 453–454
overview of, 453
exposure
cameras and, 273
fire effects and, 450
shot assembly and, 38
Exposure control, in Composition panel, 366–367
Expression Language menu, 316
expressions
applying 2D layer as decal on 3D layer, 334–335
arguments of, 253–254
color sampling and conversion, 340–341
common operations, 317
controls, 337
creating, 316–317
expression language, 318
fading while moving away from camera, 338
fading while turning away from camera, 341–343
interpolation methods, 336–338
jittery slow motion with, 328
layer space transforms, 331–333, 339
limitations of, 315
linking effect parameter to property, 318–320
looping keyframes, 322–323
markers, 324–325
overview of, 314–315
playing specific frames using markers, 326–327
random time with, 330–331
reducing layer saturation as it moves away from camera, 335–336
review, 346
time delay based on layer index, 320–322
time remapping with, 327
tracking parent layer of effect, 333–334
triggering animation at markers, 325–326
triggering effect with audio, 343–346
wiggle time effect with, 328–330
EXR files
32-bit-per-channel, 366
comparing source formats, 25
floating-point files, 367
multipass rendering and, 407
eyedropper tools, in Linear Color Key, 179–180
F
fades
while moving away from camera, 338
while turning away from camera, 341–343
feathered alpha, 82–83
feathering (F) masks, 224
field, depth of. see depth of focus (field)
Field of View (FOV)
lens distortion and, 278
linking FOV parameter to audio track amplitude, 318–320
fields, video frames interlaced into two fields, 22
file system, Project panel mirroring, 110
files
collecting or combining, 16
importing multiple, 5–6
removing unused footage, 17
Fill, Shape layers, 91
film
Cineon log space and, 355
digital, 355–357
formats, 276
storing, 351
Film Size, Camera Settings, 272
filters, virtual lens, 392–393
fire effects, 448–453
adding dimensionality to, 451–453
composites for, 449–450
creating fire elements, 448–449
light interactions and, 450–451
overview of, 448
firearms, 436–441
hits and squibs, 440–441
muzzle flash and smoke, 438–439
overview of, 436–437
setting scene for, 437–438
shells and interactive light, 439–440
flares
cameras and, 273
causes of, 399
Lens Flare effect, 305–306
working with lighting effects, 399–400
Flash video (FLV), rendering to web or DVD, 126–127
flashing blacks, 417
floating-point
file formats supported by After Effects, 367
numbers for representing dynamic range, 353–354
Flowchart view (Ctrl+F11/Cmd+F11), 57
FLV (Flash video), rendering to web or DVD, 126–127
Focal Length, Camera Settings, 272
focus, depth of. see depth of focus (field)
fog
fog effect with Compound Blur, 450
masking and adjusting, 421–422
overview of, 420–421
folders, arranging project items into, 111
footage
converting raw, 34
creating comp template, 111
deforming, 226–229
dragging to Project panel, 11
interpreting, 19–20
mismatched frame rate and, 66
relinking to missing, 14–15
removing unused, 17
Force Alphabetical Order check box, 13
foregrounds, lighting, 207
formats
benefits of PSD files, 25–26
comparing source formats, 24–25
floating-point files, 367
Output modules options, 36
Foundry, Kronos tool from, 69
FOV (Field of View)
lens distortion and, 278
linking FOV parameter to audio track amplitude, 318–320
fps (frames per second). see frame rate
Fractal Noise, 420–423
Frame Blend feature, 67–68
Frame Mix mode
Frame Blend, 67–68
Timewarp compared with, 69
frame rate
changing, 66
information listed at top of Project panel, 8
nested time and, 116–117
precomping and, 114
Preserve Frame Rate, 117
pulldown options, 22–23
and realism in cameras, 308–309
settings, 21
shutter speed and, 62
FrameCycler, from Iridas, 12
frames
combining field by interlacing, 22
Force Alphabetical Order check box, 13
markers used for playing specific frames, 326–327
methods for filling frames with selected layers, 58
selecting with Shift or Cmd keys, 12
frames per second (fps). see frame rate
Freeform, DigiEffects
for 3D displacement and warps, 283
options for deforming footage, 227
Frischluft, Lenscare tool, 297
fromCompToSurface(), 339
ft-Cubic Lens Distortion script (Tarlier), 307
Full Screen, preview option, 31
G
gamma
blending colors using 1.0 Gamma, 368–369
color matching techniques, 160
Curves control for correcting, 148
examples of gamma correction with Curves, 150–154
of QuickTime files, 380
slamming, 171–172
video color space and, 358–359
what it is, 142
Gamma control
brightness adjustment with, 141–142
Levels option, 137
gamut, of saturation options, 375–376
garbage mattes
choking, 202
creating, 199
multiple passes of, 188
procedural, 199–201
sky replacement and, 418–419
steps in applying keys, 183–184
Gaussian Blur, 401
glints, of reflected light, 400–401
glows
benefits of multipass rendering, 407
Glow effect, 431
God Rays, 401–403
gradients. see also Ramp effect
backgrounds and, 32
black-to-white, 429
inverting highlights and shadows with counter-gradient, 390
linear gradients, 151
Ramp gradients, 391
grain
managing, 299–303
overview of, 298–299
removing, 302–303
when to manage, 303
Graph Editor
basic animation and graph view, 48–49
bouncing ball animation example, 54
ease curves for fixing animations, 49–50
Hold keyframes, 53–54
layers vs. graphs, 55–56
overview of, 46–47
separating X, Y, and Z animation curves, 50–52
Show Properties menu, 47
smoothing effect viewed in, 254
transform box for editing keyframe values, 52–53
viewing ease curves, 289
green channel. see also RGB (red green, blue)
color matching under dramatic light, 166
color matching under ordinary light, 163–165
color matching when there is no reference, 170
individual channels used in color matching, 142–144
greenscreen. see also color keying
color keying and, 182–183
image quality and, 198
grids, displaying overlay grids, 32
Grow Bounds effect, as alternative to Collapse Transformations, 115–116
Guess options, for interpreting alpha channel settings, 20–21, 86–87
guide layers
creating comp template, 111
uses and benefits of, 120
gunfire. see firearms
H
H.264, 126–127
halo effects
cameras and, 273
light scattering and, 401
Hand tool (H), for moving view of clips, 27
hard (direct) light, managing direction of light, 388–389
HDR
color realism using linear HDRI, 361–363
Compander effect, 367–368
dynamic range of, 354–355
linear color space and HDR sources, 364–365
matching gamut of target devices, 375–376
HDTV
color profiles and, 375
film formats, 309
heat, fire, and explosions
energy effects, 441–445
explosion effects, 453–454
fire effects, 448–453
firearm-related effects, 436–441
heat distortion effects, 445–448
overview of, 436
heat distortion effects
creating, 446–448
overview of, 445–446
Hide Layer Controls (Ctrl+Shift+H/Cmd+Shift+H), 33
hierarchy, revealing parent hierarchy, 61–62
high-contrast (hi-con) mattes
creating, 431
linear keyers and, 177
highlights
isolating and reducing, 390
muzzle flash effect, 439
three-way color correctors and, 395–396
histogram, Levels
adjusting blacks, 138
adjusting whites, 139
color channels and, 145–146
problem solving using, 147–148
histograms, Extract, 178–179
hits, bullet, 440–441
Hold keyframes (Ctrl+Alt+H/Cmd+Shift+H)
preset transitions, 54
Timeline panel and, 53
holdout masks, tracking, 260
holdout mattes
creating, 199
overview of, 191
hot look, energy effects, 442–445
hotspots, neutralizing, 390–391
hue, saturation, brightness (HSB)
blending mode, 102
Hue/Saturation control for adjusting, 155–156
hue, saturation, lightness (HSL), Color Finesse and, 158
hue saturation, lightness, and alpha (HSLA), converting RGBA to, 340–341
Hue/Saturation control
adjustments with, 155–156
creating wet look, 430
suppressing color spill with, 203
I
ICC
color conversion, 355
color profiles, 373
if statement, JavaScript, 324–325
image optimization. see color correction
image sequences
comparing with QuickTime movies, 22
importing, 11–12
Immigration script (Alvarez), 12
importing
Import Multiple Files (Ctrl+Alt+I/Cmd+Opt+I), 5–6
Interpret Unlabeled Alpha during, 86–87
interpretation rules for importing into After Effects, 378
post-render options, 122
source files, 11–13
Increment and Save command, 17
index attribute
as marker, 324
time delay based on layer index, 320–322
indirect light, working with shadows, 404–406
Info panel, shot assembly and, 38
In/Out points, adjustment layers and, 118
Input Black
color matching under dramatic light, 167
creating glow effects around fire, 451
Levels control and, 137
Input White
color matching under dramatic light, 167
contrast and, 163
creating glow effects around fire, 451
Levels control and, 137
interactive light. see light interactions
interlacing, combining fields, 22
interpolation methods
converting one set of values to another, 336–338
ease() and, 336
Interpret Footage dialog
alpha channels settings, 20–21
field settings, 22
frame rate settings, 21
overview of, 19–20
PAR (pixel aspect ratio), 23–24
pulldown options, 22–23
interpretation rules, for importing files into After Effects, 378
Intersect masks, 92–93
Iridas FrameCycler, 12
J
JavaScript
arrays, 341
decrement operator (--), 325
dot notation, 319
expression language based on, 318
if statement, 324–325
loops and break statements, 345
Math.abs(), 329
Math.exp(), 346
Math.floor(), 326
Math.log(), 330
variables, 321
jittery slow motion, time remapping creating, 328
JPG files
comparing source formats, 25
optimizing output and, 37
K
Key Tweak script (Möhl), 96, 223
keyboard shortcuts
for 2D layers, 46
for Bezier masks, 90–91
for bit depth, 350
for Brush tool, 232
for color channels, 144
compositing and, 13–14
for display resolution, 27
for expressions, 316
for filling frames with selected layers, 58
for frame selection, 12
for full screen view, 9
for importing content as individual files, 12
for keyframe navigation and selection, 58
for keyframe offsets, 59
for layer operations, 44–45
for layer selection, 56–57
for masks, 89
for opacity, 84
for Parent layer in Timeline, 61–62
saving as text files, 128–129
for selection tools, 46
for Shape layers, 91
for stopping looping of shots, 9
for time navigation in Timeline, 43
for timing, 45
for zooming in/out, 27
KeyEdUp script (Almasol), 129
keyframes
animated masks, 96–97
basic animation, 48–49
copying and pasting, 54–55
ease curves for fixing animations, 49–50
eases and, 289
expressions used in place of, 315
frame rate and, 66
history of, 216
Hold keyframes, 53–54
looping, 322–323
navigation and selection shortcuts, 58
offsets, 59
precomping and, 114
rotoscoping and paint and, 210
transform box for editing keyframe values, 52–53
transition types, 54
translating Mask Path keyframes to new position, 223
working with backgrounds and, 33
keying. see color keying
Keylight
Bias setting, 193
Clip White, Clip Black, and Clip Rollback controls, 193–194
matte choke, 196
noise suppression, 195–196
overview of, 191–192
Screen Balance setting, 192
Screen Gain setting, 192
sky replacement with, 418–419
spill suppression, 196–197
when to use, 182
Knoll Light Factory, from Red Giant Software, 400
Kodak
Cineon file, 351–352
Cineon log encoding, 356–357
Kronos tool, from Foundry, 69
L
la nuit américaine, 394
language, expression, 318
layer markers, tips for dissecting tricky composition, 42
Layer menu
Guide Layer option, 120
Precompose (Ctrl+Shift+C/Cmd+Shift+C), 109
Layer panel
brush-based tools in, 232
drawing masks in, 88–89
keyframe offsets and, 59
revealing nested comp in, 114
side by side layout of Composition and Layer views, 184–185
sizing Roto Brush in, 212
layer space transforms
applying 2D layer as decal on 3D layer, 334–335
coordinate system and, 331–332
fading while moving away from camera, 338
fading while turning away from camera, 341–343
fromCompToSurface(), 339
interpolation methods and, 336–338
reducing layer saturation as it moves away from camera, 335–336
tracking parent layer of effect, 333–334
when to use, 333
Layer switches, on Timeline panel, 41
Layer Tagger script (Alvarez), 42
layers
filling frames with selected, 58
vs. graphs, 55–56
keyboard shortcuts for, 44–45
keyboard shortcuts for layers selected in Timeline panel, 56–57
passing settings from parent to child, 61–62
time delay based on layer index attribute, 320–322
timing entrance/exit of, 43–44
tips for dissecting tricky composition, 41–42
layers, combining
alpha channels, 77–78
masks, 78–80
mattes, 77
overview of, 76
lens, camera
angle, 273
artifacts, 304–305
optics and looks, 303–304
settings, 269–271
virtual filters, 392–393
Lens Blur effect, 297
Lens Flare effect, 305–306, 400
Lenscare tool, Frischluft, 297
Levels control
adding depth cues, 416
brightness adjustments, 141–142
color matching under dramatic light, 167
contrast adjustments, 138–141
creating hi-con matte, 431
vs. Curves control, 149
histograms, 145–146
individual channels used in color matching, 142–144
isolating and reducing highlights and shadows, 390
overview of, 137
problem solving using histogram, 147–148
Reset Levels, 140
light explosions effects, 453–454
light interactions
fire effects and, 450–451
firearm effects and, 439–440
Light mode, blending modes, 101
light saber effect, 442–445
light wrap plug-in, from After Effects, 397–398
light wrapping
creating light wrap effect, 398
overview of, 397
Lighten mask, 94
light/lighting
backlighting and light wrapping, 397–398
black and white and, 393–394
color keying and, 197
color looks and, 392
color matching under dramatic light, 165–168
color matching under ordinary light, 161–165
color timing effects, 395–396
converting daytime to night, 394–395
flares, 399–400
interactive light, 439–440, 450–451
location and quality of, 389
multipass compositing and, 406–411
neutralizing direction and hotspots, 390–391
overview of, 388
reflected light, 400–401
scattering and volumetric effects, 401–403
shadows, 403–406
shooting perfect mattes on set, 207
source and direction of, 388–389
virtual lens filters, 392–393
lightness
HSL (hue, saturation, lightness), 102
HSLA (hue saturation, lightness, and alpha), 340–341
LightRays effect, from CC, 402–403
Linear Color Key
eyedropper tools in, 179–180
getting good results with, 180–181
vs. Roto Brush, 177
linear color space
HDR sources and, 364–365
overview of, 359–361
Linear Dodge (Photoshop), 100
linear gradients, illustrating Curves settings, 151
linear keyers
Extract, 177–179
hi-con mattes and, 177
Linear Color Key, 179–181
Linear keyframes, preset transitions, 54
Liquify effect
billowing smoke with, 425–426
deforming footage with, 227
Live Update, deactivating, 28
LME (Local Motion Estimation), 71
Load Project or Template at Startup script (Alvarez), 111
Local Motion Estimation (LME), 71
location, of lighting, 389
locking compositions, 112
locking/unlocking layers (Ctrl+L/Cmd+L), 42
log space, Cineon, 355
Look-Up Tables (LUTs), for color management, 382–384
loopOut()/loopIn, 322–323
loops
JavaScript, 345
keyframes, 322–323
lossless LZW compression
optimizing output and, 37
TIFF and, 24
luma mattes
depth maps and, 416–417
sky replacement and, 418–419
track matte options, 104
Luma Range, in Color Finesse, 158
luminance (luma)
depth maps and, 416–417
Extract effect for luma keying, 177–179
Luma Range, in Color Finesse, 158
luma track matte options, 104
sky replacement and, 418–419
Luminescent Premultiply, 102–103
LUTs (Look-Up Tables), for color management, 382–384
LZW compression, lossless
optimizing output and, 37
TIFF and, 24
M
.ma files (Maya), importing with After Effects, 264–266
Mac computers, opening multiple versions of After Effects, 126
Magic Bullet Colorista plug-in, from Red Giant Software
color correction with, 310–311, 392
Lift/Gamma/Gain/Looks, 396
Looks, 306
three-way color corrector, 159
Make Movie (Ctrl+M/Cmd+M), for outputting movies, 10
marker attributes
overview of, 324–325
for playing specific frames, 326–327
triggering animation at, 325–326
markers, composition, 42
Mask Expansion tool, 224
Mask Path keyframes
moving, copying, and pasting masks, 96
setting (Alt+M/Opt+M), 219
translating to new position, 223
Mask Path stopwatch, 223
masks
Add mode for drawing, 92
animated masks, 96–97, 216–217
automated methods for creating, 79–80
Bezier masks, 90–91
creating by hand, 78
Darken and Lighten, 94
feathering (F), 224
mask shape tools, 88–90
mask tools (MM), 224
multiple, overlapping for complex shapes, 217–218
organizing multiple, 93
toggling colors, 128
tracking and translating, 223
working with backgrounds and, 33
master composition
organizing portions into subcomps, 122
restoring precomped layers to, 114
Match Grain tool, 299–300
matchmoving, 3D, 266
Matchmoving: The Invisible Art of Camera Tracking (Dobbert), 266
Math.abs(), JavaScript, 329
Math.acos(), JavaScript, 343, 346
Math.exp(), JavaScript, 346
Math.floor(), JavaScript, 326
Math.log(), JavaScript, 330
Matte Choker, 201
mattes
alpha channels and transparency channels, 77–78, 186
applying to adjustment layers, 119
articulated mattes, 216
combining selection techniques, 81
difference mattes, 181
double-matte method (core and edge), 193
garbage, core, and edge passes, 177
garbage mattes, 183–184
multiple passes of, 188
overview of, 77
procedural mattes, 174–177
refined, 222–223
sharing, 105
shooting perfect, 205–208
spill suppression, 196–197
track mattes, 104–106
Maya (.ma files), importing with After Effects, 264–266
Media Encoder
protected memory pool and, 30
for rendering, 126–127
MediaCore, interpreting color profiles, 376
memory management, 130–131
Mesh Warp
billowing smoke effect with, 425
deforming footage with, 226–227
methods
in expression language, 320
interpolation methods, 336–338
Meyer, Trish, 5
midtones. see also gamma
adjusting, 141–142
color matching techniques, 160
three-way color correctors and, 395–396
Mini-Flowchart, 111–112
Minimax, for spreading mattes, 200, 202
missing, searching for footage, 15
mist. see also fog
moving through, 423
overview of, 420–421
mocha-AE
challenges of tracking with, 259
continue loops, 262–263
Copy/Paste method for creating masks, 79
creating tracked mask with, 224–225
example of working with, 256–258
as planar tracker, 255–256
shape tracking with, 261
solutions to track slippage, 260–261
MochaImport script (Möhl), 256
Möhl, Matthias
MochaImport script, 256
Tracker2Mask script, 262
Mojo plug-in, from Red Giant Software, 396
monitors
calibrating, 372–373
color fidelity of, 371–372
dynamic range of, 352–354
management and output simulation, 376–379
preferred setup of, 10
video gamma space and, 358–359
motion blur
cameras and, 273
enhancing, 65–66
Higher Quality setting, 215
motion tracking and, 246–248
overview of, 62
settings, 63
Shutter Angle, 63–64
Shutter Phase, 64–65
motion paths, working with backgrounds and, 33
motion tracking
3D and, 263–266
AE camera as tracking tool, 248–250
choosing feature you want to track, 239–242
Confidence settings, 245–246
continue loops for, 262–263
faking 3D tracking, 250–251
motion blur and, 246–248
nulls and, 244–245
overview of, 238–239
planar trackers, 255–261
point trackers, 239
positioning, rotating, and scaling trackers, 243–244
rotoscoping and paint and, 210
smoothing camera movement, 251–254
tracker types, 242
tracking a scene, 248
tracking difficult features, 245
tracking in paint clone operation, 261–262
mouse
for point placement, 219
for zooming in/out, 27
MOV files. see QuickTime (.mov)
MPEG-2, 126–127
multipass rendering
benefits of, 407
rules for, 410–411
typical layers in, 408
multiple compositions, managing from Timeline, 111–114
Multiple Sequences check box, 12
Multiply mode
blending modes, 100–101
creating fog, mist, or smoke effect, 420–421
multiprocessing, 29–30
muzzle flash, firearm effects, 438–439
N
naming conventions, for projects and rendered output, 37
navigation
keyframes, 58
in Timeline, 43
nested compositions
advanced composition settings, 117–118
managing multiple compositions, 111–114
mismatched frame rate and, 66
nested time and, 116–118
organizing using Project panel, 110–111
overview of, 108–109
precomping and, 109–110
precomping causing problems with render order, 114–116
time and dimensions and, 115
Timeline panel and, 68
nested time, frame rate and, 116–118
network rendering
overview of, 125
Watch Folder for, 126
New Adjustment Layer (Ctrl+Alt+Y/Cmd+Opt+Y), 118
New Composition icon, 26
night, converting daytime to, 394–395
noise
suppression with Keylight, 195–196
using as grain, 302
NTSC
color profiles and, 375
output simulation and, 377
Nuke, stereo compositing and, 283
nulls, motion tracking and, 244–245
O
ObviousFX Erodilation, 202
O’Connell, Pete, 417
Ocula tool, stereo compositing and, 283
offsets
keyframe offsets, 59
layers to fake 3D, 250
of a set of points, 219
spatial offsets, 59–60
on set
lighting, 389
shooting perfect mattes, 206
opacity
adjustment layers, 118–119
color filters and, 393
fading while moving away from camera, 337
fading while turning away from camera, 341–343
HSB and, 102
mask opacity property (TT), 92
optics and edges and, 84
overlapping layers and, 95
OpenGL, 28
Optical Flares, from videocopilot.net, 400
optics, of camera lens, 303–304
optics and edges
bitmap alpha, 82
feathered alpha, 82–83
opacity and, 84
overview of, 82
Optics Compensation
mimicking lens distortion, 278–279
options for deforming footage, 227
optimizing images. see color correction
optimizing output, 37
optimizing projects
adjustment layers, 118–119
advanced composition settings, 117–118
.aepx files for XML scripts, 130
aerender application, 124–125
background rendering, 124
collapsing transformations, 115–116
controlling render pipeline, 121
frame rates and, 116–117
guide layers, 120
managing multiple comps from Timeline, 111–114
Media Encoder for rendering, 126–127
memory management, 130–131
network rendering, 125
overview of, 108–109
post-render options, 122
precomping, 109–110
preferences and project settings, 127–128
pre-rendering sub comps, 122
problems with precomping, 114–115
Project panel for organizing projects, 110–111
proxies and pre-renders, 122–124
review, 131
saving shortcuts and preferences as text files, 128–129
timing and dimensions and, 115
Watch Folder for network rendering, 126
output
of 32-bpc color, 370–371
display management and output simulation, 376–379
Make Movie (Ctrl+M/Cmd+M), 10
modules, 36–37
optimizing, 37
profiles, 379–380
Render Queue for, 34–35
Output Black
contrast and, 163–164
Levels control and, 137
Output modules, 36–37
Output Movie dialog, 10
Output White
Levels control and, 137
Overlap tool, Puppet, 229
overlapping
inverted layers, 95
transparent density, 93–94
overlay grids, displaying, 32
Overlay mode, blending modes, 101
P
paint. see also rotoscoping
cloning and, 233–235
dust busting, 236
fundamentals of, 231–233
guidelines for, 210
overview of, 231
tracking in paint clone operation, 261–262
wire or rig removal, 235–236
Pan Behind tool (Y), repositioning anchor points, 60
panels
Brush Tips panel, 232–233
Composition panel. see Composition panel
Layer panel. see Layer panel
Preferences panel, 29–30
Preview panel, 9–11
Project panel. see Project panel
Render Queue panel, 122
Timeline panel. see Timeline panel
Tools panel (Ctrl+1/Cmd+1), 6
Tracker panel. see Tracker panel
undocking from workspace, 7
panoramas, cameras and, 309–310
PAR (pixel aspect ratio)
changing, 36
information listed at top of Project panel, 8
overview of, 23–24
parameters, linking effect parameter to property, 318–320
parent/child hierarchy, in Timeline, 61–62
parenthesized comps, 116
particulate matter, weather and environmental conditions, 414–415. see also precipitation
paste. see copy and paste
Pen tool (G)
enabling, 218
using with rotobeziers, 221
perspective, color matching impacted by, 170–171
PF Track, from Pixel Farm, 263
Photoshop
3D models in, 281–283
as alternative to AfterEffects for painting, 236
cloud effect with, 424
files. see PSD files
Linear Dodge (Photoshop), 100
pivot points, for objects or layers, 59
Pixel Farm PF Track, 263
Pixel Motion mode
Frame Blend and, 67–68
Timewarp compared with, 69–70
pixels
normalization of values, 97
pixel aspect ratio (PAR). see PAR (pixel aspect ratio)
planar tracking. see mocha-AE
plates
clean plate, 137
composition settings, 26
history of term, 5
plug-ins
Camera Mapper plug-in, 293
Colorista. see Magic Bullet Colorista plug-in
for effects, 33–34
light wrap, 397–398
locating missing, 33
Mojo, 396
RE:Map, 407
Silhouette, 236
for transparency, 81
PNG files, 24–25
point of interest, camera animation and, 287
point tracker
choosing feature you want to track, 239–242
Confidence settings, 245–246
motion blur and, 246–248
nulls and, 244–245
overview of, 239
positioning, rotating, and scaling the tracker, 243–244
tracking difficult features, 245
types of tracks in Tracker panel, 242
pollution, influencing depth perception, 414–415
Position offset, repositioning anchor points, 60
positioning trackers, in motion tracking, 243–244
Posterize Time effect, 117
post-render options, 122
precipitation
compositing, 432–433
creating, 431–432
overview of, 430
wet look, 430–431
precomping
collapsing transformations and, 115–116
nested comps and, 109
problems with render order and, 114–115
reasons for using, 109–110
Transform and, 121
Precompose (Ctrl+Shift+C/Cmd+Shift+C), 109
Pre-compose script (Almasol), 110
preCompToLayerDur.jsx script (Ebberts), 114
preferences
optimizing projects, 127–128
saving as text files, 128–129
Preferences panel, 29–30
Premiere Pro, protected memory pool and, 30
premultiplication
alpha channels and edge multiplication, 85–86
removing, 102–103
pre-rendering
proxies and, 122–124
sub comps, 122
Preserve Frame Rate, advanced composition settings, 117
Preserve Resolution When Nested Controls, advanced composition settings, 118
Preserve Transparency mode, blending modes, 102
Preview panel, 9–11
previewing
compositions, 9–11
settings for, 31
primary animation, 427
Primatte Keyer, from Red Giant Software, 208
procedural mattes, 174–177, 199–201
processors
multiprocessing and, 29
rule of thumb guideline for RAM requirements, 131
profiles. see color profiles
Project panel
allowing other Adobe apps to view, 126–127
dragging footage to, 11
information listed at top of, 8, 21
locating compositions in, 112–114
for organizing projects, 110–111
searching for footage, 15
Project Settings dialog (Ctrl+Alt+Shift+K/Cmd+Opt+Shift+K), 18–19, 359–361
Project Working Space, 374–376
projects
moving, combining, and consolidating, 16–17
optimizing. see optimizing projects
settings, 18
tools for making sense of unfamiliar, 57–58
visual map of, 57
Propagation settings, in Roto Brush, 215
properties
linking effect parameter to, 318–320
precomping and, 114
render order of layer properties, 121
proxies
post-rendering and, 122
pre-rendering and, 122–124
PSD files
benefits of, 25–26
saving 3D models as, 281
pt_AEtoC4D script (Tuersley), 264
pt_EffectSearch (Tuersley), 33
pulldown options, 22–23
pulling mattes. see color keying
Puppet tools
adding motion to solid bodies, 427
deforming footage, 227
Overlap tool, 229
Pin tool, 227–228
Starch tool, 230
Purview script, 214
push
creating with 3D camera, 418–419
pyrotechnics. see heat, fire, and explosions
Q
quality
of light, 389
resolution and, 26–27
QuickTime (.mov)
color management issues, 380–381
color profiles not accepted by, 376
comparing with image sequences, 22
importing footage and, 11–12
optimizing output, 37
overriding frame rate, 21
working with, 38
R
rack focus
blur effects, 293
image planes and, 294–295
Radial Blur, 66
rain. see precipitation
RAM
guideline for RAM requirements, 131
multiprocessing and, 29
RAM preview
caching and, 31
customizing, 31–32
previewing compositions, 9
Roto Brush spans, 214
Ramp effect
creating sense of depth with, 416
dealing with hotspots, 390–391
Levels applied to, 138
random time, time remapping and, 330–331
raster images, 83
raw footage
converting, 34
types of tracks in Tracker panel, 242
rd:Pre-compose script (Almasol), 110
Reconstruction brush, 426
red channel. see also RGB (red green, blue)
color matching under dramatic light, 167
color matching under ordinary light, 164–165
color matching when there is no reference, 170
individual channels used in color matching, 142–144
Red Giant Software
color correction solutions, 392
Corner Pin effect, 261
Knoll Light Factory, 400
Magic Bullet Colorista plug-in. see Magic Bullet Colorista plug-in
Mojo plug-in, 396
Primatte Keyer, 208
Shadow effect in Warp, 405
three-way color correctors, 159
Reduce Project command, 16–17
Refine Matte effect, 213–216
refined compositing, 9–11
refined mattes
mask feather and motion blur, 224
overview of, 222–223
Refine Matte effect, 224–226
tracking and translating masks, 223
reflected light
contact lighting and, 405
multipass rendering and, 407
working with, 400–401
Region of Interest (ROI), resolution and quality and, 27–28
Reload Footage (Ctrl+E/Cmd+E), 14
RE:Map plug-in, from RE:Vision Effects, 407
Remove Color Matting effect, 87–88
Remove Grain tool, 302–303
Remove Unused Footage command, 17
Render, Email, Save, and Shutdown script (Alvarez), 126
render pipeline
Adobe Media Encoder, 126–127
aerender application, 124–125
faster compositing and, 122
network rendering, 125
overview of, 121
post-render options, 122
proxies and pre-renders, 122–124
Watch Folder for network rendering, 126
render queue
optimizing output, 37
Output modules, 36–37
overview of, 34
precomping and, 109
Render Settings, 34–35
rendering composition as work in progress, 10
Render Queue panel, 122
Replace Footage (Ctrl+H/Cmd+H), 14
Reset Levels, Levels control, 140
Reshape option, for deforming footage, 227
resolution
keyboard shortcuts for, 27
Preserve Resolution When Nested Controls, 118
quality and, 26–27
responsiveness, of UI
fixes to increase, 28–29
multiprocessing and, 29–30
Reverse Lens Distortion, 278
ReverseMaskPath script (Bordenave), 97
RE:Vision Effects, RE:Map plug-in from, 407
RGB (red green, blue)
8-bpc representation of, 353
color channels in Levels control, 137
color fidelity and 8-bpc RGB values, 371–372
Color Finesse and, 158
color matching under dramatic light, 167
color matching under ordinary light, 163–165
color matching when there is no reference, 170
histogram, 146
Hue/Saturation control and, 155
luma mattes and, 179
Screen Balance setting in Keylight, 192
RGBA (red, blue, green, alpha), 340–341
rgbToHsl(), 341
rig removal, in paint, 235–236
right-clicking. see context-clicks (right-clicking)
rock-and-roll previews, 38
ROI (Region of Interest), resolution and quality and, 27–28
Rosco colors, 192
Rotation property, creating time delay based on layer index, 321–322
Roto Brush
automated method for creating masks, 79
depth map with, 417
vs. Linear Color Key, 177
overview of, 211
in rotoscoping suite, 210
strengths/weaknesses of, 214–216
working with, 211–214
rotobeziers, 221–222
rotoscoping
alternatives for, 236
animating masks with motion blur, 224
articulated mattes, 216
deforming footage, 226–229
feathering masks, 224
generating masks manually, 78
holding cache intact during, 216–217
organic shapes, 217–221
overview of, 210–211
procedural mattes as alternative to, 174
Puppet tools, 229–230
Refine Matte effect, 224–225
refined mattes, 222–223
Roto Brush, 211–214
rotobeziers, 221–222
strengths/weaknesses of Roto Brush, 214–216
tracking and translating masks, 223
Roving keyframes, 55
RPF files
limited support in After Effects, 407
rendering/storing depth data in, 417
rulers, displaying, 32
S
sampleImage(), 339–341
saturation
gamut of, 375–376
HSB (hue, saturation, brightness), 102
HSL (hue, saturation, lightness), 158
HSLA (hue saturation, lightness, and alpha), 340–341
Hue/Saturation control, 155–156, 203, 430
reducing layer saturation as it moves away from camera, 335–336
saving, auto-save options for crashes, 130
scattering light, 401–403
Screen Balance setting
creating mattes and, 186
in Keylight, 192
Screen blending mode, for brightening light areas of layer, 99–100
Screen Colour setting, in Keylight, 186
Screen Gain setting
creating mattes and, 186
in Keylight, 192
screen mattes, generating in Keylight, 191
Screen Pre-blur setting, in Keylight, 186
Screen Softness setting, in Keylight, 195
scripts
.aepx files for XML scripts, 130
Arrange Projects into Folders (Alvarez), 111
Batch Search-n-Replace Paths (Alvarez), 130
BG Render (Alvarez), 125
Camera-ProjectionSetup (Almasol), 292
Duplink (Almasol), 284
ft-Cubic Lens Distortion (Tarlier), 307
Immigration (Alvarez), 12
KeyEdUp (Almasol), 129
Layer Tagger (Alvarez), 42
Load Project or Template at Startup (Alvarez), 111
MochaImport (Möhl), 256
preCompToLayerDur.jsx (Ebberts), 114
preference settings for allowing/disallowing, 128
pt_AEtoC4D (Tuersley), 264
pt_EffectSearch (Tuersley), 33
Purview, 214
Render, Email, Save, and Shutdown (Alvarez), 126
ReverseMaskPath (Bordenave), 97
Tracker2Mask (Möhl), 262
TrackerViz (Bordenave), 246
Trajectory (Cardeiro), 306
S-curve adjustment, of gamma, 154
SDTV
color profiles and, 375
output simulation and, 377
search (Ctrl+F/Cmd+F), 15
secondary animation, 427
segmentation boundary, in Roto Brush, 212–214
selections
Add and Screen modes, 99–100
alpha channels, 77–78
alpha channels and edge multiplication, 85–88
animated masks, 96–97
Bezier masks, 90–91
bitmap alpha, 82
combining, 92–95
combining techniques for, 81
Difference mode, 101
effects, 81
feathered alpha, 82–83
HSB and color modes, 102
keyboard shortcuts for, 46
keyframes, 58
Luminescent Premultiply mode, 102–103
mask modes, 88–90
masks, 78–80
mattes, 77
Multiply mode, 100–101
opacity, 84
optics and edges, 82
Overlay and Light modes, 101
overview of, 76
Shape layers, 91–92
Stencil, Silhouette, and Preserve Transparency modes, 102
track mattes, 104–106
transparency, 85
using right tool in, 106
sequences, selecting frames from multiple sequences, 12
Set First Vertex command, 97
sets
lighting for, 389
shooting perfect mattes, 206
Shadow effect, in Red Giant Warp, 405
shadows
adjusting with Levels, 163
color keying and, 199
contact shadows and indirect light, 404–406
isolating and reducing, 390
lighting and, 207
three-way color correctors and, 395–396
working with lighting effects, 403–404
Shadows & Highlights, 137
Shape layers, 91–92
shapes
guidelines for rotoscoping organic, 217–221
rotobeziers, 221–222
tracking with mocha-AE, 261
Shatter effect, explosion effects, 454
shells, firearm effects, 439–440
shortcuts. see keyboard shortcuts
shots, assembling, 37–38
Show Channel menu, 144
Show Grid (Ctrl+“/Cmd+”), 32
Show Properties menu, 47
Show Rulers (Ctrl+R/Cmd+R), 32
shutter angle
cameras and, 273
motion blur, 63–64
Shutter Phase, motion blur, 64–65
shutter speed, moving picture cameras, 62
shy layers, tips for dissecting tricky composition, 42
side by side layout, of Composition and Layer views, 184–185
Silhouette mode, blending modes, 102
Silhouette plug-in, rotoscoping and generating mattes with, 236
Simple Choker, for spreading mattes, 200
Simple Wire Removal tool, from CC, 236
Single Frame duration, in paint, 232
size settings, Output modules, 36
sizing Roto Brush, by Ctrl/Cmd-dragging, 212
Skip Existing Files option, in Render Settings, 35
sky replacement
bluescreen and, 418–419
infinite depth and, 420
overview of, 418
slamming gamma, 171–172
slow motion effect, 328
smoke
billowing smoke, 423–426
creating smoke trails, plumes, 428–429
firearm effects, 438–439
masking and adjusting, 421–422
overview of, 420–421
Smooth and Reduce Chatter settings, in Roto Brush, 215
smoothing
movement of camera, 251–254
Vector Detail compared with, 71–72
SMPTE-C, 377
soft (diffuse) light, managing direction of light, 388–389
solo layers, tips for dissecting tricky composition, 41–42
source, of light, 388–389
source files
altering duration of source clip (Time Stretch), 67
benefits of PSD files, 25–26
collecting and cleaning up, 16
creating comp template, 111
formats, 24–25
importing and organizing, 11–13
relinking to missing footage, 14–15
spatial offsets, 59–60
spill suppression
with Keylight, 196–197
not allowing Keylight to do, 188
Spill Suppressor effect, 190
squibs, firearm effects, 440–441
sRGB
color management and, 360
color profiles and, 375
input and, 376
Stabilize Motion, using AE camera as tracking tool, 249
Stabilize tracks, in Tracker panel, 242
Stamp tool, paint and, 231
Standard workspace, 7
Starch tool, Puppet, 230
steam effect, with Compound Blur, 450
Stencil mode, blending modes, 102
stereo output, from cameras, 283–284
strokes
Mode setting for, 232
Shape layers and, 91
subcompositions, organizing portions of master comp into, 122
subpixel motion, Motion Tracker Options, 247
Subtract masks, 92
Synthetic Aperture, Color Finesse, 157
SynthEyes, from Anderson Technologies, 263, 266
T
tags, in comments field, 41–42
Tarlier, François, 307
Telecine process, 351
templates
for composition settings, 26
creating comp template, 111
text notes, on guide layers, 120
textures, limitations of 3D models in AE, 282
TGA files, 24–25
three-way color correctors, 157, 395. see also Color Finesse
TIFF files
comparing source formats, 24–25
optimizing output and, 37
time attribute, as marker, 324
time delay, based on layer index, 320–322
time navigation, in Timeline, 43
Time Remap feature
enabling, 68–69
nested compositions and, 68
time remapping, with expressions
jittery slow motion, 328
playing specific frames using markers, 326–327
random time, 330–331
wiggle time effect, 328–330
time sampling area, in Render Settings, 35
Time Stretch (Ctrl+Alt+R/Cmd+Opt+R)
altering duration of source clip, 67
nested compositions and, 68
overview of, 41
TimeBlend, from CC, 283
Timeline panel
absolute time, 66–67
anchor points, 60
basic animation, 48–49
bouncing ball animation example, 54
column views, 40–42
copying and pasting animations, 54–55
ease curves for fixing animations, 49–50
Frame Blend feature, 67–68
Graph Editor, 46–47
Hold keyframes, 53
keyboard shortcuts for layer selection, 56–57
keyframe navigation and selection, 58
keyframe offsets, 59
layers vs. graphs, 55–56
managing multiple comps from, 111–114
Mini-Flowchart in, 111–112
motion blur and, 62–66
navigation and shortcuts, 43–45
nesting compositions, 68
overview of, 40
parent hierarchy revealed in, 61–62
review, 74
separating X, Y, and Z animation curves, 50–52
Show Properties menu, 47
spatial offsets, 59–60
Time Remap feature, 68–69
Time Stretch feature, 67
Timewarp feature, 69–73
timing and retiming, 66
tools for making sense of unfamiliar projects, 57–58
Transform and, 46
transform box for editing keyframe values, 52–53
timeToFrames(), 327
Timewarp feature
3D animation and, 283
adding motion blur effects to footage, 66
overview of, 69–73
timing
compositing and, 115
keyboard shortcuts for, 45
precomping and, 114
and retiming, 66
title/action safe overlays, 32
Toggle Mask and Shape Path Visibility button, in Composition panel, 33
Tools panel (Ctrl+1/Cmd+1), 6
track mattes
compared with alpha channels, 104
render order of, 121
selections in, 104–106
Tracker panel
positioning, rotating, and scaling the tracker, 243
tracking features with, 240–242
types of tracks in Tracker panel, 242
Tracker2Mask script (Möhl), 262
TrackerViz script (Bordenave), 246
tracking
masks, 223
motion tracking. see motion tracking
parent layer of effect, 333–334
planar tracking. see mocha-AE
point tracking. see point tracker
Trajectory script (Cardeiro), 306
transfer controls, on Timeline panel, 41
transform
controls and shortcuts, 46
editing keyframe values, 52–53
methods for filling frames with selected layers, 60
passing settings from parent to child, 61–62
precomping and, 121
Transform Box, for offsetting, scaling, or rotating a set of point, 219
Transform tracks, in Tracker panel, 242
transition types, keyframes, 54
transparency
alpha channels and edge multiplication, 85–88
effects and plug-ins generating, 81
selections, 85
Transparency Grid icon, 32
transparency channels, 77–78
transparent density, overlapping in masks or mattes, 93
Trapcode Lux, 403
Trapcode Particular, 430–432
triggering
animation at markers, 325–326
effect with audio, 343–346
True Comp Duplicator script (Chapman), 115
Truffaut, Francois, 395
Tuersley, Paul
pt_AEtoC4D script, 264
pt_EffectSearch script, 33
Twixtor, 73
U
UI (user interface), responsiveness of, 28–29
Undo, preferences for levels of, 128
Unified Camera tool (C), 287
unused, searching for footage, 15
updating views, 28
Use Alternate Color Estimation option, using with Roto Brush, 215
used, searching for footage, 15
user interface (UI), responsiveness of, 28–29
V
valueAtTime(), 343
variables, JavaScript, 321
Vector Detail, 71–72
vector shapes, masks as, 88
vector-based brushes, in AfterEffects, 231
vertices, Set First Vertex command, 97
video
compression, 194
formats, 126
video color space
compensating for, 361–363
gamma values, 358–359
video preview, 31
videocopilot.net, Optical Flares from, 400
View menu
Anchor Point Path in, 60–61
Final Result and Intermediate Result options, 187
View Options (Ctrl+Alt+U/Cmd+Opt+U), 33
Viewing LUTs, 384
vignettes, cameras, 306–307
virtual lens filters, 392–393
visibility, of layers, 41
visual effects, realism and, 268
volumetric light, 401–403
W
Warp, from Red Giant Software, 405
Watch Folder, for network rendering, 126
weather conditions. see climate/environment
wet look, creating, 430
white
Black & White effect, 394
black-to-white gradients, 429
Clip White control, 187, 193–194
converting color to black and white, 393–394
Input White. see Input White
Output White and. see Output White
widescreen film format, 309
wiggle time effect, 328–330
wind and ambient motion effects
adding elements and animation, 427–428
creating smoke trails, plumes, 428–429
overview of, 426–427
Windows computers, opening multiple versions of After Effects, 126
wire removal, in paint, 235–236
workspace
customizing, 11
setting up for compositing, 5–7
world space, coordinate system and, 332
Write On duration, in paint, 232
X
X curves, separating animation curves, 50–52
XML scripts, .aepx files for, 130
XMP metadata, 37
Y
Y curves, separating animation curves, 50–52
YCbCr, Color Finesse and, 158
YUV (YCrCB)
converting footage to/from, 195–196
digital devices using, 194
Z
Z curves, separating animation curves, 50–52
Z space, offsetting layers to fake 3D, 250
zoom
camera settings, 272
creating zoom shot with 3D camera, 418–419
options, 27
Zoom tool (Z), 27
zooming
for fine point placement, 219
shot assembly and, 38
Zorro-The Layer Tagger (Alvarez), 42