after effects create shape layer masked with animation

after effects create shape layer masked with animation

You animate mask paths and shape paths in much the same way that you animate ... frames because you forgot to click the stopwatch to make the mask path animated. Draw your masks on a white solid layer with its Video (eyeball) switch off, 

The specs for this project are a square-pixel composition of 800×450 pixels (16:9 aspect but intended for Flash video), 29.97 frames per second, 5 seconds long, with a background color of white, and named "Army Comp".

Set up New Shape Layer Group
Let's start out by taking a look at how to successfully build shape layers. You can use the shape tools in the Toolbox but I find it better to create them using the menus because it's easier to organize all the "extras" we'll need. First, go to Layer>New>Shape Layer. Twirl down the Shape Layer 1 that appears in the Timeline, then twirl down Contents—it should be empty. Go to the Add menu under the Switches column, and choose Group (empty).

Add Path; Fill with Gradient; Edit Gradient 
Go back to Add and choose Polystar. A new shape appears in the Group and you'll also see a star path in the Comp window—but no color. Go back to Add, choose Gradient Fill, then click the gradient swatch next to Fill in the Toolbox to access the Gradient Editor. Make the color changes you desire, then click OK. Using the Selection tool (V), you can drag the gradient points around inside the shape to define the direction and length of the gradient fill. Good so far.

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no sound and slow motion endered with after effects

no sound and slow motion endered with after effects

As a recent convert to Adobe Premiere one of my favorite discoveries is the Rate Stretch tool. It allows you to visually pull the length of a clip to fill how ever much time you need, then immediately preview the results. As someone who uses a lot of b-roll and slow motion in his filmmaking this tool is a serious time-saver. (check out the video after the jump)

The only problem with the Rate Stretch tool is the quality of the motion quality. In order for Premiere to slow the clip down it has to create new frames, and the more you slow it down the more frames Premiere has to create out of thin air. Premiere does a decent job of this, but most of the times I need a lot better than "decent" - I need "amazing".

In order to get great results you need something like Pixel Motion (within After Effects) to really get top-quality slow motion. In the past that meant slowing the clips down in Final Cut, exporting them into AE, applying the effect, exporting them back into FCP and hoping I guessed right on the slow down rate. 
(if not, I get to repeat the whole process again)

Enter Dynamic Linking...

Using Dynamic Linking allows you to spend 98% of your time working in the editor, actually crafting stories. (you'll need the Production Premium suite to rock this) Here's the workflow -
1. Edit your entire sequence in Premiere; use the Rate Stretch tool to get the slow motion clips where you want them. (don't worry about the playback quality at this point)

2. Right-click the clip you've slowed down and select "Replace with After Effects Composition". After Effects will automatically open with a new project based on the clip.

3. In After Effects timeline click the "Enables Frame Blending on all layers with the Frame Blend switch set" button to enable frame blending (pictured below).

4. Next, click the Frame Blend radio button twice so the line becomes solid. This tells AE to use Pixel Motion high-quality frame blending.

5. Hit "Save" in After Effects.

6. You're done! Head back over to Premiere and your changes will be reflected in the clip on the sequence timeline.

Depending on the power of the machine you're editing on you should be able to immediately preview the improved frame blending. The great news is that you don't need to render, at all, until you're ready to do your final render in Premiere. It's that simple.

This technique can be used for a number of different operations like color grading and noise reduction. I personally prefer to do most of these processes in the editor itself; high-quality time stretching just isn't possible at this point without After Effects. Check out this video to see the difference in quality -

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tutorial Photoshop to After Effects Workflow

tutorial Photoshop to After Effects Workflow

Combining two Adobe After Effects compositions into a single composition is helpful when you want to re-use a composition multiple times. Additionally, it is useful for applying complex changes to a group of compositions at once. Nesting is the process through which you combine compositions into a single composition, known as a nested composition or a precomposition. The entire set of compositions that are related to each other through nesting are known as the composition network.
Since switching to Premiere Pro, my editing workflow has been to lock picture in Premiere and then finish in After Effects. To date I've been using a workflow similar to the one I'd use when editing in Final Cut Pro, which was to import a final sequence into After Effects (either as an XML or by using Premiere Pro as an intermediary), and apply color correction, titling, and other effects in AE. While this approach gives a very high quality output, a problem rears its head if you want to make changes to the edit after "locking" picture. So what's the best workflow between Premiere and After Effects?

Once I change the coloring and add the final titles and effects, I find my picture lock often becomes unlocked. But now if I make changes to my edit in Premiere, they aren't reflected in AE, and so I find myself making edits in AE, which is far from ideal given the program's lack of real-time editing features (and editing tools like trim, slide, etc). And then if I need to revisit the edit in Premiere, I in fact have a newer edit in AE than I do in PPro. It's a version control nightmare. However, it's hard to beat from a price:quality perspective — this is the reason this workflow is spotlighted in Stu Maschwitz's DV Rebel's Guide. In theory, Adobe has designed Dynamic Link to solve this problem. But does it?

As far as I can tell, not really. Dynamic Link gives you two options, both of which are nice to have, but neither of which accomplishes what I'm looking for. The two options are: one, you can create an After Effects composition within Premiere Pro, and have that comp dynamically update in your Premiere sequence when you make changes in AE. The second option is to use Dynamic Link to open a Premiere project in After Effects, at which point you can import sequences and have them show up in AE — as a single object. There's no way to drill down to the individual clips to make changes unless you import a Premiere sequence, at which point I'm back in the same boat I was in before when using Final Cut (though it's worth noting that Premiere's integration is far more advanced, as most effects and transitions carry over flawlessly). While I'm happy to have the ability to open a Premiere Pro sequence in After Effects, one can't but wonder if the two programs could be combined in order to prevent this non-ideal workflow. As it is, once you go AE, it's hard to go back. At least, this is my understanding — am I missing something? Is all of this just confusing? Please share your experiences in the comments.

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Multiple 3d models in Adobe After Effects

Multiple 3d models in Adobe After Effects

Adjustable Mask Edge Feathering
The new Mask Feather Tool (located in the Pen Tool drop-down palette) in After Effects CS6 allows you to select specific points along the edge of your mask to adjust the amount and direction of the feathering you need. This eliminates the necessity to build multiple masks that have to be tracked or modified over time, and instead you can concentrate on one adjustable edge mask around objects you intend to roto. You can select existing Vertices along the path with the Mask Feather Tool and add an adjustment handle between the selected point to create a soft transition, or select several points to confine your adjustments to specific regions. And of course all of the Mask Feather Tool points are keyframable along the Timeline.
Adobe has addressed many user requests in the release of After Effects CS6 and provided several powerful features to help motion graphics designers and filmmakers produce better content without needing to rely on a lot of third-party plug-ins or apps. The totally revamped 3D environment now includes bendable footage and comps and extrusions for text and vector shapes - all integrated into an interactive raytracing environment where the various 3D layers truly interact with each other. Adjustable mask feathering, Rolling Shutter repair for DSLR footage and an amazing 3D Camera tracker have also been added to the mix. Built on top of major performance enhancements and caching features, makes After Effects CS6 a must-have update.
Rolling Shutter Repair
One of the most problematic issues with DSLR footage is the rolling shutter or "jello effect" caused by rapid panning against vertical lines in your scene - such as the edges of buildings, windows, busses, poles, trees, etc. Adobe has included the Rolling Shutter Repair effect to After Effects CS6 (also included in Premiere Pro CS6 as well). While the effect is applied directly to the footage layer, it can reduce the effect greatly but may require some additional tweaking and keyframing to control the amount of correction on certain footage.
Learn how to use the new 3D Camera Tracker by creating a 3D project that adds animated text to a movie. See how the tracker works in the background to analyze a scene and then automates the addition of an animated 3D camera with text. See how to adjust, manipulate and add animators and other effects to the text for amazing results.
Place and track 3D elements on 2D footage for precise visual effects and motion graphics. The 3D camera tracker automatically analyzes 2D footage in the background and places elements on that footage, with complete control over depth of field, shadows, and reflections.

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Slow motion perfect in after effects

Slow motion perfect in after effects

Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.

Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.

To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.

Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.

Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.

1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.

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ADD A CAMERA in after effects

Create a camera layer and change camera settings
You can view 3D layers from any angle and distance using camera layers. Just as it's easier in the real world to move cameras through and around a scene than it is to move and rotate the scene itself, it's often easiest to get different views of a composition by setting up a camera layer and moving it around in a composition.
You can modify and animate camera settings to configure the camera to match the real camera and settings that were used to record footage with which you're compositing. You can also use camera settings to add camera-like behaviors—from depth-of-field blur to pans and dolly shots—to synthetic effects and animations.
Cameras affect only 3D layers and 2D layers with an effect with a Comp Camera attribute. With effects that have a Comp Camera attribute, you can use the active composition camera or lights to view or light an effect from various angles to simulate more sophisticated 3D effects. After Effects can interact with Photoshop 3D layers by means of the Live Photoshop 3D effect, which is a special example of a Comp Camera effect.
Note: After Effects CS6 no longer supports the Live Photoshop 3D effect.
You can choose to view a composition through the active camera or through a named custom camera. The active camera is the topmost camera in the Timeline panel at the current time for which the Video switch is selected. The active camera view is the point of view used for creating final output and nesting compositions. If you have not created a custom camera, then the active camera is the same as the default composition view.
All cameras are listed in the 3D View menu at the bottom of the Composition panel, where you can access them at any time.
It's often easiest to adjust a camera when using one of the custom 3D views. You can't—of course—see the camera to manipulate it when you're looking through the camera itself.
Example of a camera 
A.
Point of interest
B.
Frame
C.
Camera
Note: If you import or open an After Effects 5.x project containing a 3D composition that used a default camera, After Effects adds an AE 5.x Default Camera to the composition.
Create a camera layer
Choose Layer > New > Camera, or press Ctrl+Alt+Shift+C (Windows) or Command+Option+Shift+C (Mac OS).
Note: By default, new layers begin at the beginning of the composition duration. You can instead choose to have new layers begin at the current time by deselecting the Create Layers At Composition Start Time preference (Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS)).
Change camera settings
You can change camera settings at any time.
Double-click the camera layer in the Timeline panel, or select the layer and then choose Layer > Camera Settings.
Note: By default, the Preview option in the Camera Settings dialog box is selected. This option shows the changes in the composition as you make them in the Camera Settings dialog box.
Camera settings
You can change camera settings at any time by double-clicking the layer in the Timeline panel or selecting the layer and choosing Layer > Camera Settings.
Select Preview in the Camera Settings dialog box to show results in the Composition panel as you modify settings in the dialog box.
Note: The three things that affect depth of field are focal length, aperture, and focus distance. Shallow (small) depth of field is a result of long focal length, short focus distance, and a larger aperture (smaller F-stop). A shallower depth of field means a larger depth-of-field blur result. The opposite of a shallow depth of field is deep focus—meaning a smaller depth-of-field blur because more is in focus.
Camera properties relating to camera lens blur and a shape are only available in After Effects CS5.5 and later. These properties include Iris Shape, Iris Rotation, Iris Roundness, Iris Aspect Ratio, Iris Diffraction Fringe, Highlight Gain, Highlight Threshold, and Highlight Saturation. (see Camera Lens Blur effect (CS5.5).)
Type
One-Node Camera or Two-Node Camera. A one-node camera orients around itself, whereas a two-node camera has a point of interest and orients around that point. Making a camera a two-node camera is the same as setting a camera's auto-orientation option (Layer > Transform > Auto-Orient) to Orient Towards Point Of Interest. (See Auto-Orientation options.)
Name
The name of the camera. By default, Camera 1 is the name of first camera that you create in a composition, and all subsequent cameras are numbered in ascending order. You should choose distinctive names for multiple cameras to make it easier to distinguish them.
Preset
The type of camera settings you want to use. The presets are named according to focal lengths. Each preset is meant to represent the behavior of a 35mm camera with a lens of a certain focal length. Therefore, the preset also sets the Angle Of View, Zoom, Focus Distance, Focal Length, and Aperture values. The default preset is 50mm. You can also create a custom camera by specifying new values for any of the settings.
Zoom
The distance from the lens to the image plane. In other words, a layer that is the Zoom distance away appears at its full size, a layer that is twice the Zoom distance away appears half as tall and wide, and so on.
Angle Of View
The width of the scene captured in the image. The Focal Length, Film Size, and Zoom values determine the angle of view. A wider angle of view creates the same result as a wide-angle lens.
Depth Of Field
Applies custom variables to the Focus Distance, Aperture, F-Stop, and Blur Level settings. Using these variables, you can manipulate the depth of field to create more realistic camera-focusing effects. (The depth of field is the distance range within which the image is in focus. Images outside the distance range are blurred.)

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