This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise. Search results will show you not only content from Adobe, but also from the community. You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website.
 
 

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This “CS5 on Demand” e-book runs pages ( MB to download, in PDF format) and includes five full chapters on Photoshop, Dreamweaver. 3. Unzip the files and follow the directions for use in the Read Me included in the download. Please note that many of our lesson materials can be very large. Elements 12 Classroom in a Book Adobe Photoshop Photoshop CS5: The Missing Manual Photoshop for Lightroom Users Adobe. Photoshop Elements 15 Classroom.

 

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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. To draw a star, drag the Star tool in the Composition panel. The radius values change the shape of the star. Negative values pucker a shape; positive values bloat it. This star shape will go well in the background. Now you can duplicate and animate it.

Now there are six stars on the screen. When you change the Transform properties for the Repeater, the change is multiplied by the number of copies created. The same concept applies to each of the Transform properties. Each star is more transparent than the one before it. Each duplicate star will be smaller than the one before it. Now you want to animate each star to rotate around its own axis.

Incorporating video and audio layers The background is in place. Now you can add the video of the DJ and the audio track that accompanies it.

The DJ. Trimming the work area The DJ. If you rendered this movie now, the DJ would disappear halfway through the movie. You can drag the current-time indicator in the Timeline panel, or click the Current Time box and then type First, it smooths the layer, removing a great deal of detail.

Therefore, it works best on video footage rather than a graphic layer, such as the background in this project. These settings control how much detail is removed and how it is smoothed. Higher values remove more detail. These settings determine how color is reduced and how gradients are preserved.

The layer becomes black and white temporarily. These settings reduce the number of black lines on the subject. This makes the image even more cartoonish.

The only thing missing is the title to identify the program. Creating a self-animating shape Wiggle Paths turns a standard rectangle into a series of jagged peaks and valleys.

Because the operation is self-animating, you only need to change a few properties for the entire shape to move on its own. Then change the Size to and the Detail to In the Character panel, select a sans serif font, such as Arial Black, and specify a size of 60 pixels.

Adobe Bridge opens, displaying the available animation presets. Press the spacebar to stop the preview. To use the Brainstorm feature, select the layer or properties you want to include, and then click the Brainstorm icon. The Brainstorm dialog box displays multiple variations of your image, based on randomized settings.

You can save one or more of the variants, apply one to a composition, or redo the Brainstorm operation. The Brainstorm feature works especially well with animation presets. Soloing excludes all other layers of the same type from the Composition panel.

To see all the variants in action, click the Play button. The feature randomizes the properties and displays variants. Name the button to match its function, such as Play Movie or Scene Selection. Then use the menus to assign up to three highlight layers and one video thumbnail layer.

Review answers 1 A shape layer is simply a layer that contains a vector graphic called a shape. Page About the Puppet tools Page Adding Deform pins Page Defining areas of overlap Page Stiffening an area Page Animating pin positions Page Recording animation Page Creating a segmentation boundary Page Fine-tuning the matte Page Creating a transition from the full clip to the foreground Page Creating the logo Page Animating text Page Adding a background image Page Adding audio Page Adjusting color balance Page Replacing the background Page Removing unwanted elements Page Correcting a range of colors Page Warming colors with the Photo Filter effect Page Building a 3D object Page Working with a null object Page Working with 3D text Page Creating a backdrop for 3D animation Page Nesting a 3D composition Page Adding a camera Page Completing the scene Page Animating 3D objects Page Adding reflections to 3D objects Page Animating a camera Page Using 3D lights Page Adding effects Page Previewing the entire animation Page Using motion stabilization Page Using single-point motion tracking Page Using multipoint tracking Page Creating a particle simulation Page Retiming playback using the Timewarp effect Page Creating templates for the rendering process Page Creating templates for output modules Page Exporting to different output media Page A Page C Page I Page O Page R Page T Page Z Page Thank you for purchasing this digital version of: Adobe After Effects CS5 Classroom in a Book The print version of this title comes with a disc of lesson files.

As an eBook reader, you have access to these files by following the steps below: 1. Download the ZIP file or files from the web site to your hard drive. Unzip the files and follow the directions for use in the Read Me included in the download. Please note that many of our lesson materials can be very large, especially image and video files.

You will be able to see the size of any file for download once you reach the URL listed above. If you are unable to locate the files for this title by following the steps above, please email [email protected] and supply the URL from step one. Our customer service representatives will assist you as soon as possible. Legal Notice: Peachpit Press makes no warranty or representation, either express or implied, with respect to this software, its quality, performance, merchantability, or fitness for a particular purpose.

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All other trademarks are the property of their respective owners. Government End Users. Consistent with 48 C. Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein. 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.

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Please contact us if you have questions or concerns about the Privacy Notice or any objection to any revisions. All rights reserved. Join Sign In. View Larger Image. Part of the Classroom in a Book series. Book Sorry, this book is no longer in print. Not for Sale. Description Extras Sample Content Updates. Overview Pearson Education, Inc. Collection and Use of Information To conduct business and deliver products and services, Pearson collects and uses personal information in several ways in connection with this site, including: Questions and Inquiries For inquiries and questions, we collect the inquiry or question, together with name, contact details email address, phone number and mailing address and any other additional information voluntarily submitted to us through a Contact Us form or an email.

 
 

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There’s also live online events, interactive adobe photoshop cs5 classroom in a book pdf free download, certification prep materials, and more. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in Photoshop CS5. In addition to learning the key elements of the Photoshop interface, this completely revised CS5 edition shows readers how to edit images with precise selection control, correct a wide range of lens-based errors, interactively transform their images with the new Puppet Warp tool, and easily remove or replace image elements with the new Content-Aware Fill mode.

The book also covers new powerful painting effects to artistically enhance images and shows how to combine multiple adobe photoshop cs5 classroom in a book pdf free download dowbload a single HDR image. For the first time, the companion DVD will feature, in addition to the lesson files, 2 hours of free video tutorials from Learn Adobe Photoshop CS5 by Video by Adobe Press and video2brain, a great added value!

Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe нажмите чтобы прочитать больше experts.

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