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Skip to main content. Start your free trial. Show and hide more. Publisher resources Download Example Code. Table of contents Product information. Then, in the Composition panel, click to set the producer point at the top of the pyramid. You just need to parent the radio waves layer to the full skyline layer so that the waves travel with the building across the composition.

You may need to expand the Preview panel to see all the options. Then press the Home key, or move the current-time indicator to the beginning of the time ruler.

However, this slide-show technique could easily be adapted to other uses, such as presenting family photos or making a business presentation. To help you choose, use Adobe Bridge to preview them. Currently, the Artwork layer is set to start at You need to adjust the timing of the layer so that it appears at This drops out the pure white in each image and replaces it with the softer white of the canvas.

Now the artwork appears gradually. Continuous rasterization means that graphics stay sharp as they are scaled up. The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats. Adobe Bridge lets you preview audio. Click the Pause button or press the spacebar to stop. Luckily, this music track has been composed to loop cleanly. A Time Remap property appears for the layer in the Timeline panel, and two Time Remap keyframes appear for the layer in the time ruler.

The audio is now set to loop in a cycle, repeating the clip endlessly. All you need to do is extend the Out point of the layer to the end of the composition.

The motion path appears as a sequence of dots, where each dot marks the position of the layer at each frame. Use solid layers to color a background or create simple graphic images. You may delete the sample movies from your hard disk if you have limited storage space. Click Close to close the Welcome screen. Resize the Name column to make it wider and easier to read, if necessary.

Similarly, there are two layers for the two lighting conditions outside the window: Window and Window Lit. The Window Pane layer includes a Photoshop layer style that simulates a pane of glass.

About Photoshop layer styles Adobe Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer. The layer style properties are available for the layer in the Timeline panel.

Soloing the layers isolates them to speed animating, previewing, and rendering. Currently, the lit background is on top of the regular darker background, obscuring it and making the initial frame of the animation light. However, you want the animation to start dark, and then lighten.

Now, when the animation begins, the Background Lit layer is transparent, which allows the dark Background layer to show through. Make sure to leave the Opacity property for the Background Lit layer visible. The Window Pane layer has a Photoshop layer style that creates a bevel on the window.

The interior of the room transitions gently from dimly to brightly lit. Duplicating an animation using the pick whip Now, you need to lighten the view through the window. About expressions When you want to create and link complex animations, such as multiple car wheels spinning, but want to avoid creating tens or hundreds of keyframes by hand, you can use expressions instead.

You can create expressions by using simple examples and modifying them to suit your needs, or by chaining objects and methods together. The words transform. Notice that the Opacity values for the two layers match. Notice that the sky outside the window lightens as the room inside the window does. For one thing, the sun should actually rise. Previewing the animation Now, see how it all comes together. So far, so good! A new Timeline panel named Window Contents appears.

It contains the Sun, Birds, and Clouds layers you selected in step 1 above. The Window Contents composition also appears in the Composition window. Notice that the Sun, Birds, and Clouds layers have been replaced by the Window Contents layer, which refers to the Window Contents composition.

About track mattes and traveling mattes When you want one layer to show through a hole in another layer, set up a track matte. When you animate the track matte layer, you create a traveling matte. In both alpha-channel mattes and luminance mattes, pixels with higher values are more transparent. In most cases, you use a high-contrast matte so that areas are either completely transparent or completely opaque.

Intermediate shades should appear only where you want partial or gradual transparency, such as along a soft edge. A B C Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte. The mask is animated to travel across the screen. The alpha channel of the layer above Window Lit 2 is used to set transparency for the Window Contents layer, so that the scenery outside the window shows through the transparent areas of the windowpane.

Adding motion blur The birds will look more authentic if they include motion blur. Larger values create more motion blur. In a realistic time-lapse image, they would shorten as the sun rises. For example, you could use 3D layers and lights. You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening.

Small circles appear around the corner points of the Shadows layer in the Composition panel. To adjust that corner, switch to the Hand tool , and drag up in the Composition panel so that you can see some of the pasteboard below the image.

Then switch back to the Selection tool , and drag the lower-right corner-pin handle to the approximate location of the lower-right corner of the glass tabletop. You may also need to move the two upper corners in slightly so that the bases of the shadows still align properly with the vase and clock. Then switch back to the Selection tool , and deselect the layer. Click OK to return to the Solid Settings dialog box.

The hands of the clock should be spinning quickly to show the progress of time. Close the sunrise Layers folder, and then double-click an empty area in the panel to open the Import File dialog box. The QuickTime movie clock. Drag the clock. The Render Queue panel opens.

Then click Save. So far, you have created a straightforward time-lapse simulation. Time remapping lets you dynamically speed up, slow down, stop, or reverse footage. You can also use it to do things like create a freeze-frame result.

Now you can remap all of the elements of the project at once. A Time Remap property also appears under the layer name in the Timeline panel; this property lets you control which frame is displayed at a given point in time. The Layer panel provides a visual reference of the frames you change when you remap time. It displays two time rulers: The time ruler at the bottom of the panel displays the current time. The Source Time ruler, just above the time ruler, has a remap-time marker that indicates which frame is playing at the current time.

That will change as you remap time. This remaps time so that frame plays at The composition now runs at half-speed until , and at a regular speed thereafter.

In layer bar mode, in contrast, the time ruler represents only the horizontal time element, without a graphical display of changing values. The angle of the line is shallow up to , and then becomes steeper. The steeper the line, the faster the playback time. Using the Graph Editor to remap time When remapping time, you can use the values in the time-remap graph to determine and control which frame of the movie plays at which point in time.

These initial Time Remap keyframes have vertical time values equal to their horizontal position. Every time you add a Time Remap keyframe, you create another point at which you can change the playback speed or direction. As you move the keyframe up or down in the time-remap graph, you adjust which frame of the video is set to play at the current time.

Have some fun with the timing of this project. Watch the time ruler and Source Time ruler in the Layer panel to see which frames are playing at any given point in time. Having fun yet? Keep going. Ctrl or Command temporarily activates the Add Vertex tool. Now the animation progresses rapidly, holds for two seconds on the last frame, and then runs in reverse. If you drag it to the right, the transition is softer; if you drag it down or to the left, the transition is more pronounced.

Scaling the animation in time Finally, use the Graph Editor to scale the entire animation in time. The entire graph shifts, reducing the top keyframe values and slowing playback. If you press Alt Windows or Option Mac OS and drag one corner of the free-transform box, the animation is skewed in that corner as you drag.

You can also drag one of the right transform handles to the left to scale the entire animation so that it happens more quickly. It also preserves other features, such as adjustment layers and type. The pick whip is also a way to create parenting relationships.

To use the pick whip, simply drag the pick whip icon from one property to another. When remapping time, you can use the values in the time-remap graph in the Graph Editor to determine and control which frame of the movie plays at which point in time.

Use masks to control what appears. A mask consists of segments and vertices: Segments are the lines or curves that connect vertices. A mask can be either an open or a closed path.

An open path has a beginning point that is not the same as its end point; for example, a straight line is an open path. A closed path is continuous and has no beginning or end, such as a circle.

Closed-path masks can create transparent areas for a layer. Each layer can contain multiple masks. You can draw masks in common geometric shapes—including polygons, ellipses, and stars—with the shape tools, or you can use the Pen tool to draw an arbitrary path.

Begin by previewing the movie and setting up the project. In this case, you can use the settings in the Interpret Footage dialog box to reinterpret your footage.

To replace it with the news promo, you need to mask the screen. You may need to use the Hand tool to reposition the view in the panel. The Pen tool creates straight lines or curved segments. When a circle appears next to the pointer as in the middle image below , click to close the mask path.

So you need to invert the mask. Alternatively, you could change the mask mode, which is set to Add by default. About mask modes Blending modes for masks mask modes control how masks within a layer interact with one another. By default, all masks are set to Add, which combines the transparency values of any masks that overlap on the same layer. Each additional mask that you create interacts with masks located above it in the Timeline panel.

The results of mask modes vary depending on the modes set for the masks higher up in the Timeline panel. You can use mask modes only between masks in the same layer. Using mask modes, you can create complex mask shapes with multiple transparent areas. For example, you can set a mask mode that combines two masks and sets the opaque area to the areas where the two masks intersect.

Working with Masks There are two ways to invert this mask: by choosing Subtract from the Mask Mode pop-up menu, or by selecting the Inverted option. The mask inverts. If you look closely at the monitor, you will probably see portions of the screen still appearing around the edges of the mask.

Bezier curves give you the greatest control over the shape of the mask. With them, you can create straight lines with sharp angles, perfectly smooth curves, or a combination of the two. Selecting Mask 1 makes the mask active and also selects all the vertices. Press the G key multiple times to cycle through the Pen tools. The Convert Vertex tool changes the corner vertices to smooth points.

The angle and length of these handles control the shape of the mask. Notice how this changes this shape of the mask. You can also change the zoom level and use the Hand tool to reposition the image in the Composition panel as you work.

Click the vertex. Drag the handle. Breaking direction handles By default, the direction handles of any smooth point are connected to one another. As you drag one handle, the opposite handle moves as well. However, you can break this connection to get greater control over the shape of the mask, and you can create sharp points or long, smooth curves.

The left direction handle remains stationary. Drag the right direction handle of the upper-left vertex, and then the left direction handle, to follow the curve of the monitor. If you need to shift a corner point, use the Selection tool. You should not see any of the monitor screen. You can drag the image with the Hand tool. To temporarily switch to the Hand tool, press and hold the spacebar. Then click where you want to place the next vertex, and drag in the direction you want to create a curve.

The white background allows you to see that the edge of the monitor screen looks a little too sharp and unrealistic. Replacing the content of the mask You are now ready to replace the background with the TV news promo movie and blend it with the overall shot. The Position property for a 3D layer has three values: From left to right, they represent the x, y, and z axes of the image.

The z axis controls the depth of the layer. You can see these axes represented in the Composition panel. The red arrow controls the x horizontal axis of the layer. Then drag up or down as necessary to position the clip vertically in the monitor screen.

Again, since this is a 3D layer, you can control rotation on the x, y, and z axes. This swivels the layer to match the perspective of the monitor.

This aligns the layer with the monitor. Your composition should now resemble the preceding image. This time, you want to keep the area inside the mask opaque and make the area outside the mask transparent. Applying a blending mode To create unique interactions between layers, you may want to experiment with blending modes.

Blending modes control how each layer blends with, or reacts to, layers beneath it. This creates a hard glare on the monitor screen image and boosts the colors underneath.

This exercise is optional. Material Options properties determine how a 3D layer interacts with light and shadow, both of which are important components of realism and perspective in 3D animation. This is often done to simulate light variations of a glass lens. It creates an interesting look that focuses the attention on the subject and sets the shot apart.

Adjust the shape and position using the Selection tool, if necessary. Using the Rectangle and Ellipse tools The Rectangle tool, as the name suggests, creates a rectangle or square.

The Ellipse tool creates an ellipse or circle. You create mask shapes with these tools by dragging them in the Composition or Layer panel. If you want to draw a perfect square or circle, press the Shift key as you drag with the Rectangle tool or the Ellipse tool. Be careful! Even with this large feather amount, the vignette is a bit intense and constricting.

You can give the composition more breathing room by adjusting the Mask Expansion property. The Mask Expansion property represents, in pixels, how far from the original mask edge you are expanding or contracting the adjusted edge.

When the point is selected, you can continue adding points. Working with Masks As you saw in this lesson, you can close a mask by clicking the starting vertex. Warming it up will make the image really pop. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts. Sometimes video cameras favor a certain color channel that makes the image cooler bluer or warmer redder. In this lesson you have worked with the mask tools to hide, reveal, and adjust portions of a composition to create a stylized inset shot.

Number List 2 Name two ways to adjust the shape of a mask. A mask consists of segments and vertices. An additional tool, the Puppet Sketch tool, lets you record animation in real time. Shift-click to select the backdrop. Creating the composition As with any project, you need to create a new composition. The preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition.

The banana peel moves to the left side of the composition. Sometimes you can make your work easier by making some adjustments before animation. About the Puppet tools The Puppet tools turn raster and vector images into virtual marionettes. When you move the string of a marionette, the body part attached to that string moves; pull the string attached to the hand, and the hand goes up. The Puppet tools use pins to indicate where strings would be attached.

These pins determine which parts of the image should move, which parts should remain rigid, and which parts should be in front when areas overlap. If you add more pins anywhere in the timeline, they are placed based on the original position of the mesh. As soon as you place a pin, the area within an outline is automatically divided into a mesh of triangles. Each part of the mesh is associated with the pixels of the image, so as the mesh moves, so do the pixels.

When you animate a Deform pin, the mesh deforms more in the area closest to the pin, while keeping the overall shape as rigid as possible. Where you place those pins and how you position them determine how the objects move on the screen. When you select the Puppet Pin tool, the Tools panel displays the Puppet tool options. Pin the character according to his left and right, not yours!

A yellow dot representing the Deform pin appears in the Composition panel. If at this point you were to use the Selection tool to move the Deform pin, the entire character would move with it.

You need more pins to keep the other parts of the mesh in place. Now you can move the right hand with the Selection tool. Each Deform pin is listed. This setting determines how many triangles are included in the mesh. Increasing the number of triangles results in a smoother animation, but also increases rendering time. To expand the mesh, increase the Expansion property in the options section of the Tools panel.

You can also place pins without viewing the mesh. Then select the Puppet Overlap tool again. As you add a pin, you may want to adjust its Extent value in the options area of the Tools panel. Use this image as a guide. You can also use negative numbers to reduce the rigidity of another pin.

Now you can change the Deform pin positions to animate the character. Creating a walking cycle Initially, the character should be walking across the screen.

To create a realistic walking cycle, keep in mind that as humans walk, wave patterns develop in the motion path. However, the values will vary slightly to add a bit of randomness, and to keep the character from looking too much like a robot.

So equals 1 second and 15 frames. At Squash and stretch As the character moves, his body squashes and stretches. Squash and stretch is a traditional animation technique that adds realism and weight to objects. The easiest way to understand the principle of squash and stretch is to view an animation of a bouncing ball. As it bounces up, it stretches. The falling movements occur more quickly than the walking cycle.

Moving an object Of course, when the man slips on the banana peel, the banana peel moves, too. Then make a RAM preview and view your animation. If necessary, adjust the Position property for Deform pins in the Timeline panel. Roving keyframes create smooth movement across several keyframes at once.

Go ahead and experiment with the Easy Ease and roving keyframe features, but start by trying to make your keyframes match those shown below. Recording animation Changing the Position property for each pin at each keyframe worked, but you probably found it slow and tedious. Instead of manually animating keyframes, you can use the Puppet Sketch tool to drag the objects into position in real time. The composition moves forward through time as you move the pin.

When you stop recording, the current-time indicator returns to the point at which you began recording, so that you can record the path for another pin during the same time period. To change the ratio of recording speed to playback speed, click Record Options in the Tools panel, and change the Speed value before recording. Select Puppet to see the pins in the Composition panel. The current-time indicator returns to Use the outline of the character to guide you. Remember that you can use the Puppet tools to deform and manipulate many kinds of objects, not just drawn art.

And watch out for banana peels! The Puppet Overlap tool creates Overlap pins, which determine which areas of an object remain in front when two areas overlap. Additionally, you can create smoother movement by increasing the number of triangles in the distortion mesh, but increasing the number of triangles also increases the time it takes to render the animation.

To animate pin positions more quickly, use the Puppet Sketch tool: With the Puppet Pin tool selected, press Ctrl or Command, and drag a pin to record its movement. This lesson will take approximately 90 minutes to complete.

For example, a common use of rotoscoping is to trace an object, using the path as a mask to separate it from the background so you can work with it separately. A matte is a mask used to hide part of an image so that another image can be superimposed.

If a background or foreground object is a consistent, distinct color, you could use color keying to separate the object from the background. If the subject was shot against a green or blue background green screen or blue screen , keying is usually much easier than rotoscoping. The Roto Brush tool does much of the work for you, leaving only a little clean-up work to be done.

Creating the composition You need to import three footage items for this exercise, and then create a composition. Shift-click to select the Flamingo. The Flamingo composition has one layer: Flamingo. It creates a segmentation boundary between the foreground and background. Creating a base frame To use the Roto Brush tool to isolate a foreground object, you start by adding strokes to a base frame to identify foreground and background areas.

This is where you will do all your Roto Brush work. Adding background strokes will let you remove any extraneous areas in the matte. Getting close to the area to be removed and painting a background stroke may be all that is needed. Just make sure the mask is within 2 to 3 pixels of the edge of the foreground object. The masked area is white against a black background, so you can see the matte clearly. The foreground area appears in color, and the background has a red overlay.

Click the Toggle Alpha button to display the matte on a black background. Click the Toggle Alpha Overlay button to display a red overlay. As you use the Roto Brush tool, the Alpha Boundary is the best way to see how accurate your boundary is, because you can see everything in the frame.

However, the Alpha and Alpha Overlay options can be useful when you want to see the foreground without the distraction of the background. Cached frames have a green bar in the time ruler. The Roto Brush span appears below the time ruler at the bottom of the Layer panel. Depending on how complex your foreground and background elements are, the boundary may or may not conform exactly to the area you hoped it would.

In this case, you may notice changes to the segmentation boundary along the breast of the bird, near the feet, the tail feathers, or where the neck and body meet.

As you move through the frames, the span range may increase automatically, or you can drag it to extend the span. The scene in this project remains fairly consistent, so you could extend the span and make additional adjustments as needed.

A new base frame represented by a gold rectangle is added to the time ruler, and the Roto Brush Span extends twenty frames behind and ahead of the new base frame. Depending on your system and the complexity of the project, a RAM preview may take a long time. If you notice any errors, correct them with the Roto Brush tool.

The Freezing Roto Brush dialog box displays a progress bar as it freezes the Roto Brush tool results. Freezing may take a few minutes. As it freezes the information for each frame, the cache line turns from green to blue. Then click the Toggle Transparency Grid button. Touching up the matte Depending on your clip, there may be some areas of the foreground subject that the Roto Brush tool cannot separate from the background.

You can touch up your matte by painting directly on the alpha channel. If you need to add to the foreground, switch the foreground and background colors. Painting in black adds to the matte; painting in white removes from it. Feathering the edge of a matte helps to blend it with the rest of the composition. Then drag the Flamingo. There are two Flamingo.

Rename the layer Flamingo Video, and press Enter or Return again. Rename the Flamingo. Then you want it to dissolve over 15 frames. Select None, and click OK. Select Solid Color, and click OK. Press the Shift key as you draw to create a rounded square. If you need to reposition the shape, use the Selection tool. The default values will work for this project. The border now appears to have depth. Flamingo Roto 2 appears above Flamingo Roto in the Timeline panel. The currenttime indicator was at when you split the layer, so becomes the Out point for Flamingo Roto and the In Point for Flamingo Roto 2.

Splitting a layer is faster than duplicating a layer and then trimming the In and Out points for both layers. The Logo layer is added to the top of the layer stack in the Timeline panel. It becomes active at the same time as the Flamingo Roto 2 layer.

Use the default settings to match the bevel of the border. Name the new composition Logo. The rest of the time bar disappears in the Timeline panel; all that remains for the Logo layer is the freeze frame icon at Press the P key to reveal the Position property for the layer; then hold the Shift key and press the S key to reveal the Scale property as well.

Change the Position value to , You have the text in position. Then double-click the Fade Up Lines preset to apply it to the text layer. The default timing for this preset takes too long for this project.

You may need to scroll to the right to see the end keyframe in the Timeline panel. Now you need to ensure that the text layer follows the Logo layer. In the Casa Luna Wildlife Sanctuary layer, choose 3. Logo from the Parent pop-up menu. Create initial keyframes for both the Scale and Position properties.

Easy Ease makes movement more natural-looking. Then select the Motion Blur switch for every layer except the Flamingo Video layer. You imported it earlier, so you just need to add it to the Timeline panel. With the VO. Review answers 1 Use the Roto Brush tool any time you would traditionally use rotoscoping. The Roto Brush tool adjusts the segmentation boundary as you progress through the frames in the Roto Brush span.

In this lesson, you will improve the color of a video clip that was shot without the proper white balance setting. Finally, you will remove an unwanted portion of the shot with the Clone Stamp tool.

Importing the footage You need to import two footage items for this lesson. Click Cancel to close the Composition Settings dialog box. There is an unappealing blue cast to the entire image.

The gamma values between a computer monitor and a broadcast monitor vary greatly. What may look good on a computer screen may be too bright and washed out on a broadcast monitor. One way to accomplish this is to use a video tape recorder that accepts FireWire.

Then choose FireWire from the Output Device pop-up menu. With all of these options selected, you will be able to see every update and change you make to the composition on the video monitor. Always be sure your video or computer monitor is properly calibrated before performing color correction.

Some may do the job with a single click, but understanding how to adjust colors manually gives you the greatest freedom to achieve the look you want. Unpublished-rights reserved under the copyright laws of the United States. For U. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order , as amended, Section of the Vietnam Era Veterans Readjustment Assistance Act of 38 USC , and Section of the Rehabilitation Act of , as amended, and the regulations at 41 CFR Parts through , , and You will need to copy these lesson folders to your hard drive before you can begin each lesson.

The Stock Footage folder contains seven minute video clips so you can apply what you’ve learned and express your creativity. You can experiment with QuickTime movies, and delve deeper with uncompressed footage. The lessons are designed to let you learn at your own pace. You should have a working knowledge of your computer and operating system. You must also have Apple QuickTime 7. Follow the onscreen instructions.

Optimizing performance Creating movies is memory-intensive work for a desktop computer. The instructions in this book assume that you see the default interface when they describe the appearance of tools, options, windows, panels, and so forth. Then type the new name. Type the new name, and drag the folder to the location you want to use.

If you have limited storage space on your computer, you can copy each lesson folder individually as you need it, and delete it afterward if desired.

About copying the sample movies and projects You will create and render one or more QuickTime movies in some lessons in this book. You cannot play movies from the DVD. Some lessons build on projects created in preceding lessons; some stand alone. All of these lessons build on each other in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order. The organization of the lessons is also design-oriented rather than feature-oriented.

Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.

Search results will show you not only content from Adobe, but also from the community. This companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser.

You can download the application from www. You can contribute in several ways: Add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems.

Unlike collaborating via email and attending time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences. NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process.

The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow. Note that this option does not give you access to the services from within your products. See www. This lesson will take about an hour to complete. When you are done, quit QuickTime Player.

You may delete this sample movie from your hard disk if you have limited storage space. You can do this with a simple keyboard shortcut. The main window of the program is called the application window. Panels are organized in this window in an arrangement called a workspace.

The default workspace contains groups of panels as well as panels that stand alone, as shown below. Application window B. Tools panel C. Project panel D. Composition panel E. Timeline panel F. Time graph G. Grouped panels Info and Audio H. Preview panel I. When you drag a panel by its tab to relocate it, the area where you can drop it—called a drop zone—becomes highlighted. The drop zone determines where and how the panel is inserted into the workspace.

Dragging a panel to a drop zone either docks it or groups it. If you drop a panel along the edge of another panel, group, or window, it will dock next to the existing group, resizing all groups to accommodate the new panel. If you drop a panel in the middle of another panel or group, or along the tab area of a panel, it will be added to the existing group and be placed at the top of the stack.

Grouping a panel does not resize other groups. To do so, select the panel and then choose Undock Panel or Undock Frame from the panel menu. Or, drag the panel or group outside the application window. You can use Adobe Bridge to search for, manage, preview, and import footage. Shift-click to select the dancers. Then click Open. You can import footage items at any time. Choose Composition from the Import As menu, and then click Open.

The footage items appear in the Project panel. Notice that a thumbnail preview appears at the top of the Project panel. To save time and minimize the size and complexity of a project, import a footage item once, and then use it multiple times in a composition. Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. The New Composition From Selection dialog box appears. In this example, all of the footage is sized identically, so you can accept the default settings.

When you add a footage item to a composition, the footage becomes the source for a new layer. A composition can have any number of layers, and you can also include a composition as a layer in another composition, which is called nesting. Some of the assets are longer than others, but you want them all to appear only as long as the dancers are on the screen.

The Timeline panel displays the same duration for each of the layers. Without layers, a composition consists only of an empty frame. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel. Some of these tools—the Selection tool and the Hand tool, for example—will be familiar to you if you use other Adobe applications, such as Photoshop. Others will be new.

Selection B. Hand C. Zoom D. Rotation E. Camera tools F. Pan Behind G. Mask and Shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Roto Brush N. A small triangle in the lower-right corner of the button indicates that one or more additional tools are hidden behind it. Click and hold the button to display the hidden tools, and then select the tool you want to use.

Then press Enter or Return again to accept the new name. Notice that layer handles appear around the layer in the Composition panel. To return to the Composition panel, click the Composition tab.

Dragging to change values is sometimes called scrubbing. The left and right values are x and y coordinates, respectively. Center the blur at approximately , It simulates the result of modifying the exposure setting in f-stops of the camera that captured the image. This will make everything brighter in the layer to simulate an overexposed image. This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise.

Leave the y coordinate at You will move this layer to the right. Now you can see the three waveforms—left, center, and right—in the Composition panel, hanging like a beaded light curtain. To contrast the left and right waveforms with the center waveform, you will reduce their opacity. It all looks great, but how about some movement? For this exercise, you will animate the Position property of a text layer using keyframes, and then use an animation preset so that the letters appear to rain down on the screen.

About the Timeline panel Use the Timeline panel to animate layer properties and set In and Out points for a layer. In and Out points are the points at which a layer begins and ends in the composition.

Many of the Timeline panel controls are organized in columns of related functions. Composition name B. Current time C.

Time navigator start and end brackets B. Work area start and end brackets C. Time ruler D. Timeline panel menu E. Composition marker bin F. Time zoom slider G. Composition button Before delving too deeply into animation, it will help to understand at least some of these controls. The duration of a composition, a layer, or a footage item is represented visually in the time graph.

On the time ruler, the current-time indicator marks the frame you are viewing or editing, and the frame appears in the Composition panel. When you work on a composition, you may want to render only a portion of it by specifying a segment of the composition time ruler as a work area. Two layers—Title Here and Background—appear in the Timeline panel. The Title Here layer contains placeholder text that was created in Photoshop.

At the top of the Composition panel is the Composition Navigator bar, which displays the relationship between the main composition bgwtext 2 and the current composition bgwtext , which is nested within the main composition.

You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path. Before you can replace the text, you need to make the layer editable. A T icon appears next to the layer name in the Timeline panel, indicating that it is now an editable text layer. The layer is also selected in the Composition panel, ready for you to edit. Then type AQUO. Then type bubble in the search box.

Easing into and out of animations keeps the motion from appearing to be too sudden or robotic. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated. When you use keyframes to create a change over time, you must use at least two keyframes—one for the state at the beginning of the change, and one for the state at the end of the change. This is known as overscan.

The amount of overscan is not consistent between television sets, so you should keep important parts of a video image, such as action or titles, within margins called safe zones. Keep your text inside the inner blue guides to ensure that it is in the title-safe zone, and keep important scene elements inside the outer blue guides to ensure that they are in the action-safe zone.

All three methods are accessible through the Preview panel, which appears on the right side of the application window in the Standard workspace. Using standard preview Standard preview commonly called a spacebar preview plays the composition from the current-time indicator to the end of the composition. Standard previews usually play more slowly than real time. The number of frames played depends on the amount of RAM available to the application.

In the Timeline panel, RAM preview plays either the span of time you specify as the work area, or from the beginning of the time ruler. Before you preview, check which frames are designated as the work area. When all of the frames in the work area are cached, the RAM preview plays back in real time. It provides fast screen previewing of a composition without degrading resolution, which makes it a desirable preview option for many situations.

When OpenGL does not support a feature, it simply creates a preview without using that feature. For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store. The Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions.

Saving a custom workspace You can save any workspace, at any time, as a custom workspace. You can click Default to restore the default brightness setting. You can narrow the results to view only Adobe Help and support documents. You can easily obtain these updates through Adobe Application Manager, as long as you have an active Internet connection. Adobe Application Manager automatically checks for updates available for your Adobe software. Click Done to accept the new settings. Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel.

A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time. A RAM preview allocates enough RAM to play the preview with audio as fast as the system allows, up to the frame rate of the composition. You can use them to create great-looking animations quickly and easily. You will animate the travel show ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs.

In this exercise, you will jump to Adobe Bridge to import the still image that will serve as the background of your composition. If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Click the arrows to open nested folders. You can also double-click folder thumbnail icons in the Content panel. The Content panel updates interactively. In Lesson 1, you created the composition based on footage items that were selected in the Project panel.

You can also create an empty composition, and then add your footage items to it. This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards. Importing the foreground element Your background is now in place. You should now see both the background image and the logo in the Composition panel and in the Timeline panel. The composition opens in its own Timeline and Composition panels.

Leave all other options in the Character panel at their defaults. Leave all other options in the Paragraph panel at their defaults. Show Grid to make the nonprinting grid visible to help you position objects. Then click the triangle next to Stylize to expand the category. The text appears, letter by letter, until the words travel Europe are fully onscreen at Precomposing is a way to nest layers within a composition. Precomposing moves the layers to a new composition. This new composition takes the place of the selected layers.

When you want to change the order in which layer components are rendered, precomposing is a quick way to create intermediate levels of nesting in an existing hierarchy. Then click OK. This new, precomposed layer contains the three layers that you selected in step 1. Press the spacebar to stop playback at any time. Adding transparency Many TV stations display logos semi-transparently in the corner of the frame to emphasize the brand.

Click the stopwatch icon to set an Opacity keyframe at this location. When you place your composition in the render queue, it becomes a render item that uses the render settings assigned to it. You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website. The Render Queue panel opens automatically.

The SWF format is a widely used vector graphics and animation format for the web—a compact, binary format that can contain audio and vector objects. Before exporting to SWF, you need to adjust the composition a bit for online display.

So you need to reposition and resize the layers for the new output medium, including moving the logo to the top of the composition. Leave all other settings at their defaults, and then click OK. Nested layers are rasterized. Precomposing moves the layers to a new composition, which takes the place of the selected layers. This lesson will take approximately 2 hours to complete. You can animate text layers by manually creating keyframes in the Timeline panel, using animation presets, or using expressions.

You can even animate individual characters or words in a text layer. Importing the footage You need to import two footage items to begin this lesson. Arrange the layers so that compass. You can create and edit text directly on the screen in the Composition panel, and quickly change the font, style, size, and color of the text.

You can add horizontal or vertical text anywhere in a composition. The Tools, Character, and Paragraph panels contain a wide range of text controls.

Use point text to enter a single word or a line of characters; use paragraph text to enter and format text as one or more paragraphs. As with layers imported from Illustrator, text layers are continuously rasterized, so when you scale the layer or resize the text, it retains crisp, resolution-independent edges. The text you enter appears in a new text layer. The small line through the I-beam marks the position of the text baseline.

Then press Enter on the numeric keypad to exit text-editing mode and to select the text layer in the Composition panel. Or, you can select the layer name to exit text-editing mode. Animating Text Using the Character panel The Character panel provides options for formatting characters.

If no text is highlighted and no text layers are selected, the changes you make in the Character panel become the new defaults for the next text entry.

If a type layer is selected, the text in the Composition panel takes on the newly selected font. Using the Paragraph panel Use the Paragraph panel to set options that apply to an entire paragraph, such as alignment, indentation, and leading. For point text, each line is a separate paragraph. You can use the Paragraph panel to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a text layer. This aligns horizontal text to the center of the layer, not to the center of the composition.

Now you can position the text layer using a grid. Press Shift after you start dragging to constrain the movement and help you position the text. After applying an animation preset, you can customize it and save it to use again in other projects. To help you choose the right animation preset for your projects, you can preview them in Adobe Bridge.

Adobe Bridge plays a sample of the animation in the Preview panel. Nothing appears to change in the composition. Previewing a range of frames Now, preview the animation. The letters appear to evaporate into the background.

It looks great—but you want the letters to fade in and remain onscreen, not disappear. So you will customize the preset to suit your needs. Customizing an animation preset After you apply an animation preset to a layer, all of its properties and keyframes are listed in the Timeline panel. The letters now fade into rather than disappear from the composition. Previewing the scale animation Now, preview the change. The scale animation ends shortly before The movie title fades in and then scales to a smaller size.

In nature, nothing comes to an absolute stop. Instead, objects ease into and out of starting and stopping points. The keyframe becomes a leftpointing icon. The keyframe becomes a right-pointing icon. Animating using parenting The next task is to make it appear as if the virtual camera is zooming away from the composition. The text scale animation you just applied gets you halfway there, but you need to animate the scale of the compass as well. Road Trip. This sets the Road Trip text layer as the parent of the compass layer, which in turn becomes the child layer.

As the child layer, the compass layer inherits the Scale keyframes of its parent layer Road Trip. Not only is this a quick way to animate the compass, but it also ensures that the compass scales at the same rate and by the same amount as the text layer. Road Trip because Road Trip is now the second layer.

Alternatively, you can select the compass layer in the Timeline panel and press P to reveal its Position property. Then enter , Both the text and the compass scale down in size, so that it appears that the camera is moving away from the scene. If you entered Position values for the compass, select the compass layer, and press P to hide the Position property, too. Creating a parenting relationship between layers synchronizes the changes in the parent layer with the corresponding transformation values of the child layers, except opacity.

For example, if a parent layer moves 5 pixels to the right of its starting position, then the child layer also moves 5 pixels to the right of its starting position. A layer can have only one parent, but a layer can be a parent to any number of 2D or 3D layers within the same composition. Parenting layers is useful for creating complex animations such as linking the movements of a marionette or depicting the orbits of planets in the solar system.

Animating imported Photoshop text If all text animations involved just two short words, such as Road Trip, life would be easy. But in the real world, you may often have to work with longer blocks of text, and they can be tedious to enter manually. Because you imported the credits. Click OK if you see a warning about missing fonts. Then change the k to a c in documentary. This is because the original layer name was created in Photoshop.

We used Myriad Pro. Leave all other settings as they are. Then select layer 2 again. Then, in the Text Color dialog box, select a green color. The easiest way to do this is to use another text animation preset.

You should see two keyframes for Range Selector 1 Start: one at , and one at These presets also provide placeholder text with formatting when you apply them, so in this exercise, you will enter and format your text after you apply the animation preset. The text on the path is obscured by the movie title. Customizing the preset path First, you need to change the placeholder word pipes to directed by.

By animating tracking, you can make words appear to expand outward as they appear onscreen from a central point. Before you animate it, change it to your own name.

Currently, the text is onscreen for the duration of the composition. That will change once you animate it. The animation should also occur faster. The letters expand as they appear onscreen, and stop animating at the last keyframe. Then click the stopwatch icon to set an Opacity keyframe.

Using a text animator group Text animator groups let you animate individual letters within a block of text in a layer. Then expand the layer to see its Text property group name. Using a combination of animator properties and selectors, you can create complex text animations that would otherwise require painstaking keyframing. Most text animations require you to animate only the selector values—not the property values.

Consequently, text animators use a small number of keyframes even for complex animations. Each animator group includes a default range selector. Range selectors constrain the animation to particular letters in the text layer. You can add additional selectors to an animator group, or apply multiple animator properties to the same range selector. Skewing the range of text Now, make that middle name shake and shimmy by setting Skew keyframes.

The other names in the line of text remain steady. This adds an Easy Ease to all keyframes. To remove only one animator, select its name in the Timeline panel and press Delete. Then press N to set the end bracket for the work area at the end of the composition.

Animating Text Cleaning up the path animation Currently, the words directed by fade in and out as they wind along the Pipes path preset. Now, directed by will be visible throughout the composition. Because the middle keyframe now the last keyframe is set to Easy Ease, the words directed by come gently to rest above your name.

Adding motion blur Motion blur is the blur that occurs as an object moves. Now, apply motion blur to the layers in the credits composition. Then click the Enable Motion Blur button at the top of the Timeline panel so that you can see the motion blur in the Composition panel. This process may take a while, depending on the size of the project. Give yourself a pat on the back. You just completed some hard-core text animations.

You can animate the text in a text layer using special text animator properties and selectors. Navigate to folders containing categories of text animation presets, such as Blurs or Paths, and watch samples in the Preview panel.

When a layer is made a parent to another layer, the other layer is called the child layer. Creating a parenting relationship between layers synchronizes the changes in the parent layer with corresponding transformation values of the child layers. This lesson will take approximately an hour to complete. You can animate shapes, apply animation presets, and add Repeaters to intensify their impact.

You can customize and transform an individual shape or its entire layer to create interesting results. In this lesson, you will use shape layers to build a dynamic background for the introduction of a reality series called DJ Quad Master. The period indicates that there are no units in that position. To specify 10 minutes, type Shape attributes are all represented in the Timeline panel, and you can animate each setting over time.

The same drawing tools can create both shapes and masks. Masks are applied to layers to hide or reveal areas of an image, while shapes have their own layers. When you select a drawing tool, you can specify whether the tool draws a shape or a mask. Press Enter or Return to accept the new layer name. Drawing a polygon By default, the Polygon tool draws a shape using the settings of the last shape drawn with that tool.

However, by adjusting the points, position, rotation, outer radius, outer roundness, and other values, you can dramatically alter the initial shape. Select the Solid Color icon , and then click OK. Click OK. Twisting a shape The Twist path operation rotates a path more sharply in the center than at the edges. Positive values twist clockwise; negative values twist counterclockwise. To move the shapes closer together, use a smaller value for the x axis; to move them farther apart, use a larger value.

Now the shapes are farther apart. To move all of the shapes, you need to move the entire shape layer. Change the Position to , The shape layer is now in the upper-left corner of the composition. Rotating shapes The suns should rotate on the background.

This setting causes the shape to rotate three times in 10 seconds. Blending shapes with the background The rotating suns look good, but they contrast with the background too much. The value would apply to all the duplicates as well. Press Enter or Return again to accept the new name. A polygon is simply a star without an Inner Radius or Inner Roundness property; both tools create shapes called polystars.

Drawing a star The Star tool is grouped with the other shape tools.

 
 

 

Adobe photoshop cs5 classroom in a book pdf free download.Legally Free Adobe Photoshop Ebooks and PDF Files For Download

 
Adobe Developer Connection: www. You can paint only on individual layers—not the composition as a whole. Supplemental Privacy Statement for California Residents California residents should read our Supplemental privacy statement for California residents in conjunction with this Privacy Notice. You can create expressions by using simple examples and modifying them to suit your needs, or by chaining objects and methods together.

 
 

Adobe photoshop cs5 classroom in a book pdf free download.Adobe Photoshop CS5 Classroom in a Book

 
 
Leave the y coordinate at For U. Click Done to accept the new settings. To see all the variants in action, click the Play button. The lessons are designed to let you learn at your own pace. Page Creating a particle simulation