• 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