If you're brand new to After Effects, check out this free online training series to get you started
By Todd Kopriva | September 15, 2010
Adam Shaening-Pokrasso presents a seven-part video tutorial series that introduces After Effects for beginners. This series is a single multi-part hands-on tutorial with downloadable exercise files, so it's especially good for people who learn by doing.I've added this tutorial series to the resources that I recommend in my overview post for beginners: "Getting started with After Effects (CS4 and CS5)".One of the things that makes this series stand out from other tutorials is that it spends a lot of time on fundamentals of animation and motion graphics, not just on the specific features of After Effects, and not just on the creation of a specific result or look. These fundamentals can be used every day, for every project. This is real teaching.Here's a quick summary of the highlights of what each episode shows:Episode 1, Animation and compositing basics> overview of terminology, workflow, and user interface> basic animation of layer properties> RAM previewEpisode 2, Animation technique and keyframe interpolation> overview of keyframes and animation> keyframe interpolationEpisode 3, Masking and duplicating layersbasic compositing> introduction to masks> duplicating layersEpisode 4, Parenting> null object layers> parentingEpisode 5, Precompositions and master compositions> composition settings> precompositions> introduction to effects> changing and animating masks> layer stacking order> In and Out pointsEpisode 6, Photoshop to After Effects workflow> working with Photoshop and After Effects> preparing and importing Photoshop documents> anchor pointsEpiside 7, Final touches and rendering> markers> navigating nested compositions> moving and tweaking keyframes> adjustment layers> basic color correction and adjustment> rendering and exporting
By Dennis Radeke | September 10, 2010
Like everyone else, I've started a blog, gotten into a blog, regularly contributed to a blog, added to the blog, expanded the blog, touted the blog and ultimately…forgotten the blog.Actually, I never forgot about it and I've put in entries now and again, but working for Adobe, you've got to focus on what's most important and sadly, though I love it, the blog languished and the petals fell off of the blossom.Well, I'm not out of the woods yet and I can't remember ever being more busy than I am right now. HOWEVER… I am resolved to get back into the blog.Why? Simply put - you. Many of you have commented and taken the time to tell me that you've gotten something out of it, or asked a question or whatever. Helping people is one of the most rewarding things that I can do for Adobe and while I'm not perfect at it (or even consistent), I'm glad to be getting back into this.BUT..THERE'S..A..PROBLEM..In addition to getting back into the groove, connecting Contribute to the blog, learning how to use Omniture, etc., there's the idea of content. What do you want?Really - what do you want from this blog? What do you want from Adobe Beginner Classes on Adobe TV?One of the things I'm going to be doing is some informal and probably biased reviews of some gear. I'm planning on doing some reviews of the equipment I get to play with and pass on some of my off beat thoughts and comments.Anyway, you get the idea. So I hope that you'll comment here, post something on Twitter (@TheGenesisProj) or do some sky writing in a piper cub in whichever city I'm visiting. Okay, maybe the last one is tough, but I'd be impressed!Let me know and as always, thanks for your support.Dennis
By Jason Levine | August 10, 2010
With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one…worldwide. From literally every country I've visited, people are discovering the power of DSLR video and leveraging it to it's fullest. But the questions I'm continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don't you transcode in Premiere?"This is generally followed by, "Surely, transcoding to an intermediate codec leads to better/more accurate color grading, higher bit depths, faster performance, etc…right?"Well, the short is answer is: No. There are many misconceptions about transcoding, largely stemming from its long-standing traditional use. But as Dylan once sang, "The times, they are a-changin'…" and the same can be said for the way we work in our NLEs specifically, Premiere Pro CS5.So, I decided to record a short (less than 9 minute) tutorial on ‘Staying Native or Going Intermediate' to try and clarify some of these misconceptions, and educate users as to when, how, and why you might/might not stay native or move to an intermediate codec.
Staying Native or Going Intermediate? Transcoding and Premiere Pro CS5 from Jason Levine on Vimeo.
As mentioned in the video, this is not meant in any way to 'slam' or ‘cut down' on anyone's personal choices for editing/workflow, nor am I stating that there's no place for transcoding~there most definitely are great benefits in certain workflows. These are simple truths that I hope will provide some clarification.Blog on.
In this 7 part series, Dave Helmly walks you through a complete 3D Stereo workflow with Premiere Pro CS5.
By dhelmly aka DavTechTable | July 14, 2010
I've created a start-to-finish workflow on how you can create a 3D stereoscopic workflow in Adobe Premiere Pro CS5 using complementary tools that are on the market today. It's a must see for anyone getting started with 3D Stereo. This seven-part series covers Active, Passive and Anaglyph viewing as well how to play your videos on a consumer 3D TV. It's a ton of information so I broke up the series into bite-sized pieces. Let me know if you have any questions and enjoy! -- Dave
By Todd Kopriva | July 02, 2010
In After Effects CS4, you may have seen errors like this when rendering and exporting: After Effects AEGP Plugin Media IO PluginThere is a mismatch between Output Module settings. Please verify your settings and try again. Property Data Invalid!Medial02 error: 0x400e0004Frame dimensions out of bounds.This type of "mismatch" error message indicates that you have a setting in the format-specific settings that is incompatible with the settings chosen in the Output Module Settings or Render Settings dialog box.
By Karl Soule | June 30, 2010
In the video space, there's always a lot of talk about these number ratios - 4:4:4, or 4:2:2, or 4:1:1, but what exactly do they mean? Recently, someone argued with me that it was better to convert every video clip from my Canon Rebel T2i DSLR camera into a 4:4:4 intermediate codec before editing; that this would make the color magically "better" and that editing natively was somehow bad. They were wrong, and I'm going to explain why.Before you read on, make sure you've read my earlier articles on 32-bit floating point and on YUV color, and look at the picture from the Wikimedia Commons site of the barn in YUV breakdown.
By Karl Soule | June 28, 2010
Another area I'm getting pelting with questions about is the little YUV logo on some Premiere Pro effects. What exactly is YUV when talking about video?
Audio engineers designing emergency alerts run into focus group trouble.
By Michelle Gallina | June 25, 2010
With the recent news about Adobe Audition coming to the Mac, I thought you might enjoy this spoof on the hurdles an audio engineer faces.
Get to the nitty-gritty details of how to work with several high-end cameras and formats
By Todd Kopriva | June 24, 2010
Adobe has been putting out several white papers, workflow guides, and other materials to give the nitty-gritty details of how to work with several high-end cameras and formats. Many of these resources are collected here. This blog post is a summary of some of these resources, and links to some that aren't captured on this page.
You asked and Adobe is delivering
By Michelle Gallina | June 23, 2010
Today on Adobe Labs, Adobe announced that Adobe® Audition®, the all-in-one professional audio toolset for recording, mixing, editing and mastering, is planned to come to the Mac in a future release. Adobe Audition for the Mac will offer a flexible audio editing environment for fine-tuning single files or creating multi-track mixes. It will also deliver sophisticated audio restoration tools, enabling users to quickly transform problem recordings into usable soundtracks. Audio editors and video professionals will now have more choices for audio production, with Adobe Audition available on either PC or Mac platforms. Adobe encourages creative professionals to sign up to be notified when the beta is available so they can test some of the new features and provide the product team with their feedback. Key innovations in Adobe Audition for the Mac include native multi-channel support for 5.1 surround sound for professional results, noise reduction and restoration capabilities and new audio effects including de-hummer, de-esser, and volume leveler. All of these capabilities are planned to come to Mac users in the next release of Adobe's comprehensive professional audio editing tool.
By Alyson Abrego | June 18, 2010
The Adobe Story team is looking for feedback on this new service. Take 5 minutes to fill out this survey and be entered to win a free copy of CS5 Production Premium. Even if you haven't used Adobe Story, your feedback is still appreciated. Thank you.
Understanding Color Processing in Adobe Premiere Pro
By Karl Soule | June 07, 2010
Recently, I've been getting a lot of questions about the new icons in the Premiere Pro Effects panel, in particular, the "32-Bit" icon seen at left.People have asked how these effects relate to the 64-bit Mercury Engine, if they are limited in some way? The answer is no - these icons mean that these effects use 32-bit floating point color, the gold standard of color processing.Trying to understand video color precision is, well, a confusing task. There are so many different terms floated around - 8-bit and 10-bit color are used to describe cameras, while software talks about 8 bits per channel, 16 bits per channel, and 32-bits per channel "floating point" color. What does it all mean? And, for the colorist, how does Premiere Pro handle color? If these are burning questions in your mind, then read on.
Easy project exchange helps speed production pipelines
By Michelle Gallina | May 27, 2010
Since so many industry professionals typically use a variety of production and post-production tools on virtually every project, it's really important to move media and sequences between tools seamlessly. Unfortunately, in complex production pipelines this often requires format conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to recreate elements that don't transfer. In Adobe Premiere Pro CS5, we've added the ability to share projects and assets between Adobe Premiere Pro and Final Cut Pro, as well as between Adobe Premiere Pro and Avid NLEs such as Media Composer. This essentially means you can share files and timelines without conversion or rendering, preserving commonly used effects and transitions.
New support added to After Effects CS5 and Adobe Premiere Pro CS5
By Michael Coleman | May 25, 2010
As many of you know, CS5 Production Premium includes built-in support for the RED camera format. In the past couple months, RED has been making a lot of changes, including introducing their new Mysterium-X sensor and the latest "Color Science".Today we are posting a significant update to our RED camera import plug-in for Adobe After Effects CS5 and Adobe Premiere Pro CS5. It includes support for the new camera sensor and a bunch of new features. Check out the full details at Todd Kopriva's Region of Interest blog. You can always go directly to get the plug-in from Adobe Labs.
By Jason Levine | May 21, 2010
For this piece, we'll take a look at using the new Ultra Keyer in Premiere Pro with some Canon 7D footage. What's great about this is the fact that the green screen was unevenly lit, and with minimal effort, I'm able to pull a rather impressive key, literally in seconds.Following that, I'll show you the easiest way to time-remap footage (both speeding-up and slowing down) directly inside the timeline. One thing that I neglected to mention was that you can (of course) keyframe time changes (but you'll see a little tool-tip pop-up during the video). Once keyframed, you can adjust the ramp of the speed/duration into the time change as well. Powerful stuff, and very easy to apply.And lastly, I'll showcase the ease of the new 'Export Frame' option, ideal for taking digital stills from your HD-DSLR video, and lightning fast in CS5 (thanks to the fact that we no longer go thru Media Encoder to process stills; just click 'Export', choose the format/location, and you're done).
DSLR Workflow in Premiere Pro CS5 - Keying, Time Remapping & Stills from Jason Levine on Vimeo.
By Dennis Radeke | May 13, 2010
As I spoke previously, the landscape of broadcast has been changing. That perfect storm of change is forcing broadcasters to think differently about the how's and why's to get media out. As a recap, here are several of the issues facing media outlets today: * Moved from analog to digital transmission. * From standard definition to high definition (two flavors, not one by the way). * We've gone from a couple of formats (betacam and DV) to an ever growing list of formats. * The world has gotten even more media saturated meaning that content has to be even better. * Broadcasters don't worry about one screen (TV), they worry about three (TV, online, mobile) * The world has moved from tape based (remember those?) to file-based formats. * And oh, by the way, we've had an incredibly challenging economy that means capital expenditures (improving your equipment) have been difficult to say the least.For this second of two parts, I will offer up some feedback that I've gotten from media executives around some of these challenges and how CS5 is addressing their needs.
By Jason Levine | May 05, 2010
Now that CS5 has officially been announced, launched, and available for download and purchase, I figured it was time to blog about one of my favorite features in Premiere Pro...Native DSLR editing. A few months back, while on Press Tour in Singapore I purchased a Canon 7D. Having only worked with some 5DMKII footage (during our demo-asset creation phase) I was really psyched to 'get my hands dirty' and see what these cameras could do on the video side. And more importantly, really test the power and push the boundaries of the Mercury Playback Engine.
I experienced real-world power when Adobe teamed up with HP at NAB
By Colin Smith | April 28, 2010
During the recent National Association of Broadcasters show in Las Vegas, I had the opportunity to present Adobe Creative Suite 5 in the HP booth. I was very excited to get my hands on a fully loaded HP Z800 Workstation and test just how fast Premiere Pro CS5 and After Effects CS5 would run; seeing as we are now able to take advantage of 64-bit memory. The Z800 was running Windows 7 64-bit, topped with 24GB DDR3-1333 RAM, a gorgeous 10-bit Dream Color display, Dual 6-core Westmere processors, NVIDIA's Quadro FX 5800 graphics card and an HP StorageWorks X1000 Network Storage System that left every customer's jaw on the floor.
The landscape in the broadcast world is changing
By Dennis Radeke | April 26, 2010
The landscape in the broadcast world is changing. Big time. Think about it - broadcasters have: * Moved from analog to digital transmission. * From standard definition to high definition (two flavors, not one by the way). * We've gone from a couple of formats (betacam and DV) to an ever growing list of formats. * The world has gotten even more media saturated meaning that content has to be even better. * Broadcasters don't worry about one screen (TV), they worry about three (TV, online, mobile) * The world has moved from tape based (remember those?) to file-based formats. * And oh, by the way, we've had an incredibly challenging economy that means capital expenditures (improving your equipment) have been difficult to say the least.
By Anubhav Rohatgi | April 21, 2010
If you haven't taken a look at the Adobe site yet, make sure you sign up for Adobe Story. It's a collaborative script development tool that has been available on Adobe Labs since IBC 2009. The last 6 months have been fantastic for the Adobe Story team as we've received a lot of input and kudos from testers to make it a fantastic tool to speed production and post production. We already have a good community on labs and also on our facebook page and twitter feed.Educational institutions, scriptwriters and independent producers are intrigued by what Story is bringing to the table and how it leverages the metadata from your script to get you from script to screen faster. I had the opportunity to validate this workflow with David Harris, a producer and editor at MTV New Media. By following our Script to Screen workflow, David was able to search 100s of hours of clips based on location, character and dialog to quickly find relevant takes and put together his sequence in Premiere Pro CS5. Speech to text in Premiere Pro CS5 is also almost a 100% accurate when you use the embedded Story metadata in each clip. ""Editing and producing documentaries involves hundreds or thousands of hours of sifting and searching through footage. The Adobe Creative Suite 5 Production Premium workflow saves me weeks on my documentary project by making all my footage immediately accessible and searchable so I can focus on storytelling, not on clip hunting. With Adobe's script-to-screen workflow, the gap between a script edit and a rough cut is smaller than I ever imagined it could be."You can use Story as a part of the CSLive suite of services or as a standalone application. You can work online and offline on your scripts. We also support creation of AV Scripts, free form documents, tagging and breakdown reports in Story. We will updating Story every eight weeks after the launch of CS5 later this month so I encourage you to try the application. Its free for one year after you sign up.
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