4. Give the logo a transparent backgroundClick the visibility icon for the Background layer to hide it. Now, only the logo itself is visible and the rest of the file is transparent.



5. Store the transparency in an alpha channelChoose Window > Actions to view the Actions panel. Click the small triangle in the panel’s upper-right corner and choose Video Actions from the menu that appears. Select the Alpha Channel from Visible Layers action and click the Play button. Click Continue and a new alpha channel is added to the image.



6. Save the fileChoose File > Save As. Name the file and be sure the Alpha Channels box is checked. Click OK to save the file.

This post sponsored by iStockphoto – Save 10% – Get a Free Audio Track


• Rotation is the best choice for animating.
• Orientation is better for posing.

3. Select a layer and time. You need to choose where to animate. In the Animation or Layers panel, select a video layer. Next, move the current time indicator to the video frame you want to modify. This is where the animation will begin.

4. Start Painting. You can use any of your painting tools to modify the layer. Try using several strokes to create an animated image. You can also use the Clone Stamp, Pattern Stamp, Healing Brush, or Spot Healing Brush to modify individual frames in a video file.

5. Move Forward. Since your goal is to animate, you’ll need to use more than one frame. You can use the playback controls at the bottom of the frame to advance to the next or previous frame. To make painting easier, click the submenu of the Animation panel (upper right corner of the panel) and choose Enable Onion Skins. This will show you a preview of the previous stroke when painting.

6. Change your Mind? Any painting you do on a video frame applies non-destructive edits. This means you can discard the altered pixels on a frame at any time. Simply choose Layer > Video Layers > Restore Frame or Restore All Frames command.

This post sponsored by iStockphoto – Save 10% – Get a Free Audio Track

An oldie, but goodie. Learn how to process several photos at once. This is designed for video workflows, but all will benefit.

This post sponsored by iStockphoto – Save 10% – Get a Free Audio Track

Learn how to use the Shape Tools to create dynamic motion graphics elements. This tutorial was recorded as part of a session at the 2007 NY Post Production Conference (www.nypostconference.com).

Wednesday, November 30 | 5:30pm - 8:00pm
Washington, DC Convention Center
http://on.fb.me/vt8dtC

Don't miss this special Animator's Roundtable at GV Expo. It's FREE and open to the public. This is the chance for DC's best Animators, Motion Designers, and VFX Artists to meet their Producer counterparts.

Producers and Animators don't always understand each others areas of expertise. Creating an animation or graphics heavy video can often be daunting, so the Animator's Roundtable has activated its universal translator to help Producers and Animators speak the same language and communicate better! Our expert panel, a mix of Producers and Animators, will share their knowledge and a few tips on planning for and using animation effectively. They'll help you figure out how to solve your creative challenges with the magic of graphics.

Special Guest Panelists:

• Chris Dominici, Potomac Motion
• Richard Harrington, RHED Pixel
• Pradeep Mistry, PCM Animation
• Ann Ramsey, US Dept. of Health and Human Services

• This has some serious potential for compositing
• RotoBrush, Content Aware Fill… apparently Adobe wants to take every hard job and make it easy.

Units & Rulers

• Set Rulers to pixels.
• Set Type to points.
• Ensure that screen resolution is set to 72 pixels/inch.
• Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.
• Click Next.

Guides, Grid, & Slices

• I find that a Light Red guide is easier to see than the default Cyan.
• Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").
• Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.
• Click Next.

Plug-Ins

• If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.
• Click Next.

Type

• Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.
• Leave Enable Missing Glyph Protection checked
• Choose to Show Font Names in English (or the native language of your software).
• Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.
• Click Next.

3D

• Click OK.

General

• Adobe Color Picker (a consistent, cross-platform color selection tool).
• Image Interpolation set to Bicubic (best for smooth gradients).
• Use Shift Key for Tool Switch unchecked.
• Resize Image During Place checked.
• Zoom Resizes Windows checked.
• Zoom with Scroll Wheel checked.
• Click Next.

Interface

• Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.
• Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.
• Uncheck Enable Gestures if using a laptop (unless you love them).
• Click Next.

File Handling

• Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.
• Always append file extension with lower case tags.
• Set Maximize PSD and PSB File Compatibility to Always.
• Click Next.

Performance

• Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.
• Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.
• Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.
• If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.
• Click Next.

Cursors

• Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)
• Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.
• Click Next.

Transparency & Gamut

• You can change the grid size to make it easier to see transparent pixels.
• You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.
• Click Next.

When you need to create text for your projects, you can turn to Adobe Photoshop, Adobe Illustrator, or After Effects. With each application, there are two ways you can create a text layer. You can use either Point or Paragraph text in each application, both offer benefits and you should carefully choose which you want.

Point Text

Paragraph Text

I have a new webcast on motion graphics that's been released by Creative Edge. It's a one hour show and it features some of the best techniques from a new motion graphics design book.

The whole thing is absolutely free… just be sure to click the full-screen button so you can better see things.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will learn how the Adobe Creative Suite can benefit your motion graphics workflow; discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator; gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras; and explore advanced techniques like DVD menu design, motion control 3D and panoramic images. This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.

In case you missed it, the Photoshop for Video podcast is back with new episodes!

These two have been released and more are in the queue. A big thanks to Creative COW for sponsoring the show.

Photoshop and AE: Refine Edge Command and 3-D Motion Control

Photoshop and AE: Layer Comps

You can find a list of more shows here – http://library.creativecow.net/tutorials/adobephotoshop

Or subscribe in iTunes – http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=173706237 where the show has hit #7 in its category!

______________________________________________________________________

If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here – http://www.twitter.com/rhedpixel

A Hue/Saturation adjustment layer offers a nondestructive way to check contrast of type over a patterned background.
One way to test your contrast is to convert the file to grayscale. This can be achieved with several methods:

• You can print it out in Grayscale.
• Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
• You can use the History panel to create a duplicate document that you flatten and desaturate.
  

• Learn how the Adobe Creative Suite can benefit your motion graphics workflow
• Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
• Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
• Explore advanced techniques like DVD menu design, motion control 3D and panoramic images

Related to the spell-checker is a Find-and-Replace command. This allows you to go through all of your text layers and swap out words. Say that you’ve listed Williamstown Resort throughout your full screen graphics. A few days later, the client calls and says it’s actually Williamsburg Resort. You can have Photoshop scan through and replace all instances of the improper name throughout your composition. Again, the technology is standard, but it can be a time saver.

• Motion Graphics with Adobe Creative Suite 5 Studio Techniques
• How to Wow with PowerPoint
• Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite
• Photoshop for Video

• Learn how the Adobe Creative Suite can benefit your motion graphics workflow
• Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
• Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
• Explore advanced techniques like DVD menu design, motion control 3D and panoramic images

• Adobe Premiere Pro
• Adobe After Effects
• Adobe Photoshop Extended
• Adobe Media Encoder
• Adobe Encore (DVD, Blu-ray, Flash)
• Adobe Illustrator
• Adobe Flash and Flash Catalyst
• Adobe Story and CS Review

Typography

• Stop Stealing Sheep and Find Out How Type Works by Erik Spiekermann, E. M. Ginger (Adobe Press 2002)
  • The Mac Is Not a Typewriter by Robin Williams (Peachpit 2003)
  

Color

• Designing Across Cultures by Ronnie Lipton (How Design Books 2002)
  • Color Correction for Video by Steve Hullfish and Jaime Fowler (Focal Press 2008)
• Color Correction Handbook: Professional Techniques for Video and Cinema by Alexis Van Hurkman (Peachpit Press 2010)
  • Color Index and Color Index 2 by Jim Krause (How 2010)
  • Complete Color Harmony Workbook by Lisa Sawahata (Edition Olms 2008)
  

Design

• Design Essentials for the Motion Media Artist: A Practical Guide to Principles & Techniques by Angie Taylor (Focal Press 2010)
• Robin Williams Design Workshop by Robin Williams and John Tollett (Peachpit 2006)
  • Idea Index by Jim Krause (North Light Books 2000)
  • The Visual Story by Bruce Block (Focal Press 2007)
• Motion Graphics Studio Techniques with Adobe Creative Suite CS5 by Richard Harrington and Ian Robinson (Peachpit 2011)

Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.

It's always great when the companies that make the tools that I use are actually open. Here's where Adobe is going. Listen close to some of the points (it's a tad dry... but trust me... LISTEN to what's being said).

1. Select the layer or layers you want to blend.
2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
3. Press Shift + = (Shift plus Equal) to scroll through the list.
4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

• Brush strokes, cloning, and most manual tools from the toolbox do not work. There are several alternatives, such as using a Gradient Fill layer instead of the Gradient tool.
• To play a single step of an action, double-click on it.
• Change Your Mode. Button mode lets you launch actions quickly; it’s in the Actions palette’s submenu. You’ll need to disable it to get recording and editing features.
• Get Accelerated. Set the Playback Options from the Actions palette submenu to play back an action accelerated. Photoshop can process faster than it can redraw the screen.
• Be Batchful. You can choose File>Automate>Batch to run an action on an entire folder of images. You can batch multiple folders at once. Create aliases or shortcuts within one folder that point to the desired folders. Be sure to click the Include All Subfolders option.
• Be Safe. Back up your custom actions to two folders, the default location and a secondary backup. This way, a reinstall or upgrade won’t blow your custom actions away.
• Change Your Rulers. To create an action that will work on all files, you must record some commands with the rulers set to percentage.
• Size Specific. Use File>Automate>Fit Image to resize images for a specific height or width.
• Be Careful Where you click. Photoshop will record the names of layers as you select them. This may cause playback issues, because the action will look for specific names.

• Choose layer above Option+] (Shift+Alt+])
• Choose layer below Option+[ (Alt+[)
• Choose top layer Shift+Option+] (Shift+Alt+])
• Choose bottom layer Shift+Option+[ (Shift+Alt+[)

• Move the current layer up the layer stack Cmd+] (Ctrl +])
• Move the current layer down the layer stack Cmd+[ (Ctrl +[)
• Move the current layer to the top Shift+Cmd+] (Shift+Ctrl+])
• Move the current layer to the bottom Shift+Cmd+[ (Shift+Ctrl+[)

• NTSC DV 720 X 480 (with guides) for a standard 4:3 menu commonly used in North America or Japan.
• NTSC DV Widescreen, 720 X 480 (with guides) for a 16:9 menu
• PAL D1/DV, 720 X 576 (with guides) for a 4:3 menu used in Europe and other parts of the globe.
• PAL D1/DV Widescreen, 720 X 576 (with guides) for a 16:9 menu used in Europe and other parts of the globe.

• Action Safe – The outside box. All elements meant to be seen should fall inside of the inner 90% of the menu. Still design the background edge-to-edge.
• Title Safe – The inside box. All text elements meant to be read should fall inside the inner 80% of the menu.

• Use a larger point size. Stand up and walk 20 feet away from the computer screen. Can you still read it?
• Be sure to anti-alias your type. Check the character panel for anti-alias methods for smoother edges at low-resolutions.
• Layer styles help readability. Don’t over-bevel, but a light bevel can help. Also add a contrasting edge with either a glow or drop shadow
• Sans serif fonts are often easier to read on television sets. If using a serifed font, be sure to use a true bold version, not a Faux Bold effect.

There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

See it here – http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/time-repmapping-footage

Want to learn about Photoshop 3D? Read my article over at Tip Squirrel

Using 3D Objects in Photoshop
Photoshop’s 3D Engine is very flexible. It allows you to transform layers three dimensionally. More importantly, it lets you create new 3D elements including primitive shapes (such as cones or spheres). You can also make complex elements can be created using grayscale meshes.

Read the whole article over at Tip Squirrel – http://www.tipsquirrel.com/index.php/2011/04/using-3d-objects-in-photoshop/

Be sure to also check out the new book Motion Graphics with Adobe Creative Suite 5 Studio Techniques

• Quickly organize their existing Final Cut or Avid projects, or create new projects to use right away in Premiere Pro
• Understand how to use Premiere Pro with other Adobe software
• Edit their footage the way they like but with tips and techniques from authors with tons of experience in all the editing programs and who speak your language.
• Put their skills to work immediately by using the accompanying lesson files to work through the steps in the book

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington takes a look at how to integrate still photos into your Premiere Pro timeline to acquire the very popular documentary photo effects style with pans and scans.

Be sure to check out the many tutorials at Creative COW.

3. You can enhance the effect with several useful options for the Stabilization Method:

• Result – You can choose Smooth Motion to retain the general camera movement (albeit stabilized) or No Motion to attempt remove all camera movement.
• Smoothness – This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value for maximum smoothness.
• Method – There are four methods available. The two most powerful are Perspective and Subspace Warp. If either method creates too much distortion you can try switching to Position, Scale and Rotation or just Position.

5. If you see vertical distortion or warping in the shot, enable the Rolling Shutter Ripple option under the Advanced category. In order to use these advanced options you need to use either the Subspace Warp or Perspective method for Stabilization. Be sure to experiment with both methods as the choice may vary based on the source footage.nIf you want maximum stabilization quality you can choose the Detailed Analysis option under the Advanced category. This makes the Analysis phase do extra work to find elements to track. This option is much slower, but produces superior results.

6. Use the RAM preview option to preview the effect as needed.

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington explores how to make a better black and white image with a combination of filters.

• ActionFX – One source that has both free and for-sale actions is the diverse Web site, ActionFX (http://www.actionfx.com) Members have access to thousands of Photoshop actions, as well as other add-ons.
• PanosFX – A great site that is really becoming one to watch is PanosFX (http://www.panosfx.com). This site has some incredible free actions as well as some very affordable and powerful tools for sale.
• Adobe Exchange – Adobe offers several user contributed actions on their website, check out http://tinyurl.com/adobexchange.

• Understanding Adobe Photoshop Podcast – web | iTunes
• Photoshop for Video Podcast – web | iTunes
• Tip Squirrel Website
• Adobe Camera Raw Guide

• Understanding Photoshop – Quick Fixes
• Understanding Photoshop – Creating Panorama Photos

In this video tutorial Richard Harrington shows a quick technique used to animate and selectively warp an image inside of Adobe After Effect. Richard uses masking and refine edges to prepare the animation inside Photoshop.

Plus, I actually make a monkey dance (really)!

• You can print it out in Grayscale.
• Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
• You can use the History panel to create a duplicate document that you flatten and desaturate.

• Chank www.chank.com
• Fonthead www.fonthead.com
• DincType www.GirlsWhoWearGlasses.com
• Fontalicious www.fontalicious.com
• Blue Vinyl www.bvfonts.com
• Acid Fonts www.AcidFonts.com

1. Match – Retimed stock shot, up-rezzed, luma keyed.
2. Painting – Timelapse sky, 3D photogrammetry, Compositing, Color Grading, Virtual Cameras
3. Cable Shot – Restoration, Hand-Tinting, 3D photogrammetry, Color Grading, Puppet Tool, Virtual Cameras (look for the horses to move)
4. Lightbulb – Rotoscope, Color Grading, Glow
5. Washing Machine – Heavy cleanup in Photoshop Extended and Color Grading
6. Welder – Color Grading and Compositing
7. Streetcar – Heavy cleanup in Photoshop Extended and Color Grading
8. Phone Pole – Recomposing shot by selective stretching
9. Switch – Compositing
10. Valve Turn – Compositing and Depth of Field Blurring
11. Employee Shots – Color Grading
12. Meter Shot – Keying, Painting, Compositing, Rotoscope (it's 8 layers)
13. Phone Shot – Retiming, Compositing, Screen Replacement
14. Solar Panel – Timelapse sky, 3D photogrammetry, Compositing, Color Grading, Virtual Cameras

• There were several fixes and improvements for RED (R3D) import and workflow. .
• The Apply Color LUT effect can now use .3dl files with floating point values or 3DMESH/Mesh keywords, or those saved from an ASSIMILATE SCRATCH system (i.e., that have SCRATCH in the comments at the top of the file).
• QuickTime (.mov) files from JVC solid-state cameras can be imported.
• The standalone Adobe Media Encoder (AME) application can export MXF files containing MPEG-2 essence items that comply with the XDCAM HD format used by such systems as Avid Unity. Because you can use the standalone AME application to render and export After Effects compositions, this feature extends to After Effects.

• Crash importing Sony XDCAM HD footage from Sony XDCAM Transfer application.
• Slow playback of compositions containing several layers based on video footage items, especially for long-GOP footage from DSLR cameras.
• Crash when using a PNG file with path name longer than 256 characters.
• Colors rendered incorrectly with Avid DNxHD and AJA2vuy codecs in 16bpc and 32bpc projects.
• QuickTime movies using Blackmagic RGB 10bit codec rendered with color shift or gamma shift.
• Standard-definition-sized H.264 movies were imported with color space interpreted as HDTV (Rec. 709) instead of SDTV (Rec. 601 NTSC).

• FAQ: Why don't I have some effects or codecs in my free trial version of After Effects?
• FAQ: How can I play or preview sound (audio)?
• FAQ: What are the optimum memory settings for performance in After Effects?
• FAQ: Why are my vector graphics (e.g., from Illustrator) pixelated?
• FAQ: Why can't I see my changes until I let go of the mouse button?
• FAQ: Why can't I see all of my motion path in the Composition panel?
• FAQ: Why is there no audio (sound) in my output file?
• FAQ: What's the best format for exporting from After Effects?
• FAQ: Why is my output file huge, and why does it not play smoothly?
• FAQ: How do I find tutorials and information about After Effects?
• FAQ: How do I send bug reports, feature requests, and other feedback about After Effects?

• Pixels and Vectors: Mastering Resolution
• Typography for the Screen
• Repairing, Stylizing and Retiming Footage
• Perfect Loops: Designing Backgrounds
• Creating and Importing 3D Objects
• Check Your Sources: Organizing Files for Animation
• Mastering Transparency: Perfect Masks and Alpha Channels
• DVD and BD Menu Design
• Motion Control 3D
• Virtual Sets with Panoramic Photos

• Explore the entire spectrum of video for DSLR camera owners, with recommendations on gear, lighting, lenses, audio, editing, color correcting, exporting, media management, and more.
• Addressing technical challenges associated with DSLR video, such as camera movement, multiple camera coverage, low-light videography, and synchronized audio.
• Explore additional creative techniques such as stop motion and time-lapse photography.

• Anchor Point (A) – This is the point at which the object rotates or scales. You will often need to adjust the anchor point of the object and move it to a more “natural” rotation point (such as the waist, a joint, a hinge, etc.). The easiest way to adjust Anchor Point is with the Pan Behind tool.
• Position (P) – This is where the object is located along the X, Y, or Z-axis.
• Scale (S) – This is the size of the object on the screen. Remember, scaling an object larger than 100 percent will create pixelization in raster objects. If you want to simulate a zoom, press S for Scale to access the scaling controls. To scale all the layers in unison, add a new Null Object to the composition. All the layers can be parented to the Null Object (via the parent Column). Then scale the null to affect all the dependent layers.
• Rotation (R) – An object can be rotated around its anchor point. It can also be rotated along its X, Y, or Z-axis.
• Opacity (T) – The lower an object’s opacity the more you can see through it.
• Animation Assistants – Use your animation assistants to add Ease on the rotation and anchor point keyframes. Click on the word Scale to highlight both scale keyframes. Then choose Keyframe Assistant > Exponential Scale. This powerful assistant will accurately simulate the ballistics of a camera zoom.

• Adobe offers some great primers on video technology. be sure to check these free e-books out.

• Adobe Digital Video Primer (PDF: 9.8M) Whether you want to understand the differences between analog and digital, how to choose and set up a system that's right for you, or how to prepare and edit your content for delivery in virtually any format, the Adobe Digital Video Primer is a resource you'll use often.
• Adobe HD Primer (PDF: 1.6M) This primer will help you understand what's involved in making the transition to authoring and distributing high-definition content and how to get the best results out of that transition.
• Adobe Digital Audio Primer (PDF: 84k) In this primer, we'll introduce the basics of sound so you can work more effectively with Adobe® Audition™ and the rest of your digital audio or video toolkit.
• Adobe DVD Primer (PDF: 6.3M) This in-depth primer will get you acquainted with DVD technology and teach you how to make your DVD content more dynamic. If you're already creating video productions, it will introduce you to state-of-the-art technologies you can use to repurpose your content for DVD distribution. If you're a beginner you'll find out how you can easily develop and author your own DVDs.
• Adobe Professional DVD Production with Adobe Encore DVD Primer (PDF: 2.2M) This primer provides background information on the DVD-Video format and explains what makes Adobe Encore® DVD such a powerful application for professional DVD creation.
• Adobe Streaming Media Primer (PDF: 1019k) The Adobe Streaming Media Primer offers a single comprehensive source for learning everything you ever wanted to know about streaming media — including pitfalls, costs, how-tos, and the basics.
• Adobe DV Primer for Creative Professionals (PDF: 392k) Thinking about adding video to your repertoire? If you're a graphic designer, web professional, photographer, or other creative professional and you want to start working with video, this Primer is the place to start. You'll learn how video can expand your creative reach, the basics of the technology, and what you'll need to get started.

In the rush to design, many motion graphic artists skip the advanced controls inside the Material Options category. These are essential as the refine how a 3D light interacts with your 3D layer. The properties that affect appearance the most are Diffuse, Specular, Shininess, and Metal.

The only changes made to the scene above were modifications to the Material Options. No other settings with lights were modified. The Material Options are powerful controls that are often overlooked. When you're first exploring Material Options, try lowering or raising their values one property at a time.

1. To start, drop all of the values to 0% to remove the effect of the lights.
2. Next slowly increase the Specular value. This will add a hotspot to your layer (it may get quite blown out). This value controls how reflective the layer is. The bigger the number the brighter the reflection.
3. Raise the Shininess property which will cause the light to show specular highlights. The bigger the number the smaller the highlight.
4. Use the Diffuse property to soften the results generated by the Specular and Shininess properties. This will soften the transition between lights and darks.
5. Raising metal property will lower the color distinction between the darker areas and the highlight, but the highlight will still be brighter. It also affects how much the layer's color influences the color of the reflection.

A line or a shape is all you need to create a 3D object. By default, the extrusion will rotate around the left edge so position the vector object accordingly.

2. Choose Effect > 3D > Revolve. Check the Preview box so you can see the effect update as you make changes.

With the Preview box checked, changes will update so you can experiment more easily. For complex objects, the screen may take a moment to redraw.
By default, Illustrator revolves objects around the left edge. You can change this to the right edge using the from pop-up.

3. If you object has a fill, you can use the cap command to make it appear solid or hollow.

4. Use the Angle property to set the number of degrees to revolve the path. While you can use any number between 0 and 360, I typically start with 360˚.

With the Preview box checked, changes will update so you can experiment more easily. For complex objects, the screen may take a moment to redraw. You can use the Offset slider to expand the path to create a ring-shaped object.

If you experiment with this effect, some pretty cool options are possible. Try using a dashed line and creating an irregular path. In this case a basket shape is possible and you can create abstract 3D objects for motion graphics work. Technique adapted from RC Concepcion.

From the new Adobe Press book – Motion Graphics with Adobe Creative Suite 5 Studio Techniques

• When working in 2D, the highest layer in the Timeline is in front of all the other layers. The lowest layer is behind them.
• 3D layers are stacked based on their Z‑position value (assuming the camera is pointing at their fronts). This means that the object closest to the Active camera is in front of the other layers. This is true even if the layer is at the bottom of Timeline stacking order.
• Track and Alpha mattes must always be immediately on top of the layer they are matting. This is true for both 2D and 3D layers.
• Layer blend modes still follow the stacking order in the Timeline.
• 2D layers mixed with 3D layers are ordered by their spot in the Timeline stack.
• If two or more 3D layers have overlapping z‑position values, After Effects uses their Timeline stacking order to determine top position.

• Pixels and Vectors: Mastering Resolution
• Typography for the Screen
• Repairing, Stylizing and Retiming Footage
• Perfect Loops: Designing Backgrounds
• Creating and Importing 3D Objects
• Check Your Sources: Organizing Files for Animation
• Mastering Transparency: Perfect Masks and Alpha Channels
• DVD and BD Menu Design
• Motion Control 3D
• Virtual Sets with Panoramic Photos

• Producing HDSLR Video Shoots - Essential Planning for Successful Productions
• Motion Control 3D: Adding Perspective and Movement to Photos
• Photoshop for Video Professionals
• Motion Graphics Workflow with Adobe Creative Suite
• Transcoding and Editing Strategies for HDSLR Post Production

• If you have two overlapping cameras, the one on top of the layer stack takes precedence.
  • If you want to edit between cameras, you can adjust the in and out points in the timeline. Then sequence the camera layers so you can cut between them.
  

1. Open up your General Preferences and be sure that the Allow Scripts to Write Files and Access Network box is checked.
2. Add your files to the Render Queue like normal.
3. Choose File > Run Script > render_and_email.jsx, you will now be prompted for your email settings.
4. Enter server smtp address: such as mail.mac.com, click OK
5. Enter the reply to address: such as the email you want to use to send the message.
6. If your server required log-in (most do), click YES and enter your ID and password. Click OK.
7. Enter the recipients email address. Click OK
8. An email with the subject AE Render complete will be sent when the queue is finished.

A Better Stop

Need to Re-render?

1. Select a previously rendered animation.
2. Press Command + Shift + D (Control + Shift + D) to duplicate the render item with the same settings and output name. This will rewrite over the previous file to the exact same destination.
3. Save your work, then click Render when ready to output.

• See how to plan, set up, and execute your shots to reduce fixes in post
• Choose the right keying process for your project
• Master basic shooting setups and live broadcast keying
• Understand proper lighting and how to match subjects to the background
• Create a working storyboard and learn how to select and direct talent
• Composite your footage and fix problem shots
• Work creatively with virtual sets, motion tracking, and match moving
• Master techniques that apply to all compositing software and plug-ins

• Video Made on a Mac: Greenscreen Solutions
• Creative Chromakeying handout from Photoshop World

1. Create a new Premiere Pro project and match its settings to your primary footage format.
   2 Import a folder of QuickTime movies into a Premiere Pro project. You can even import a Final Cut Pro XML file to bring a sequence in without needed to do anymore media management.
2. Edit the clips as needed into sequences.
3. After your clips are edited, just select them and press Command+C to copy them to your clipboard.
   5 Switch to an open After Effects project and press Command+V to paste the clips using Dynamic Link. The clips (with handles) will move from Premiere Pro to After Effects.

1. Launch Adobe Photoshop.
2. Press Command+K to call up your Photoshop preferences.
3. Click the Units & Rulers preference tab.
4. Click the Rulers menu and set it to pixels.

1. Select either the 1080 or 720 source folder.
   2 Locate the correct target format and open the template.
   3 Import a QuickTime movie of your HD source.
   4 Highlight the layer called Replace Me.
   5 Hold down the Option/Alt key and drag your replacement footage onto the solid layer to swap.
   6 Change the comps duration to match your footage layer’s length by choosing Sequence > Settings.
   7 Add to the Render Queue and render to taste.

• After Effects CS4 Guides
• After Effects CS4 Mocha 
• After Effects CS4 Light and Shadow 

• http://provideocoalition.com/index.php/adobe/story/the_future_is_64_bit/
• http://blogs.adobe.com/keyframes/

• Seamlessly exchange projects and assets between After Effects and Flash
• Shoot green screen material correctly, work with Keylight, and utilize embedded alpha channels
• Create dynamic text, vector-based animations, and “animated” video using the tools in Adobe Creative Suite 4
• Work with 3D cameras and lights and create 3D environments
• Convert Flash to broadcast and DVD standards with After Effects
• Use Adobe Media Encoder for professional results
• Create interactive controls and use cue points in your video
• Optimize video for accessibility and use Adobe® Soundbooth® for video transcription
• Use ActionScript in your projects for more innovative animations

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Unrated

• Adobe Photoshop essentials
• Traditional two-dimensional motion control
• Using 3D cameras
• Working in 3D space
• Using 3D lighting to enhance your images
• Performing advanced camera operations
  

• Original and processed images
• Adobe Photoshop and After Effects project assets