By Richard Harrington
Real-World advertisement initiatives awarded in complete colour characteristic the paintings of well known artists, Chris and Trish Meyer, Jayse Hansen, Mark Coleran, Ken Locsmandi and others. The tutorials are advertisement initiatives that the artists created for a shopper finances of $10,000 or much less, utilizing purely the plug-ins that include the software program. particular concentration is given to the basic options which are vital to beginner movement image artists. The better half DVD includes the resource records required for the reader to copy the suggestions in addition to Apple QuickTime shows of the ultimate initiatives. The initiatives hide quite a lot of sensible functions together with broadcast animation, big-screen movie trailers, tune video compositing, trade extravaganza displays, DVD menu pics, and cel animation with Flash. * Real-World tasks from 11 movement photos execs * learn how to harness After results' robust toolset * spouse DVD comprises all resource documents so that you can re-create the tasks
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Extra resources for After Effects @ Work: DV Expert Series
In the case of Shot 1, create a When creating the shadows in Flash, cre- separate layer for Lucid, Creaton, and ate a separate layer for each character Creaton’s dust cloud. This separation is shadow and one for cast shadows. Use vital for implementing effects such as the Brush tool with a black fill and the shadows, dust, and rack focus. alpha at 60% and draw the shadows for each frame. Later you’ll blur them, so :: PAINTING shade beyond the lines of the drawings so I find I do more work filling areas that the Close Gaps misses due to the gap threshold than it saves me by closing my gaps.
6. Turn on Motion Blur and 3D Layer for each background layer. 7. Hide Lucid’s layer and switch the composition view from Active Camera to Custom View 3. 8. Then move the Background layer further back in on the Z-axis, 30 » THE SCENERY IN 3D SPACE. just enough to achieve a little parallax. 9. Rotate the Ground layer –80° on the X-axis and adjust its position on the Z-axis so that it sits in front of the Foreground layer. Adjust its Y position so that the Ground ends just below the tree roots. Your result should look like FIGURE 31.
Select Layer 2 then press the Home key. Press the left bracket key ([) to move the layer’s in-point. 7. Activate Layer 1 and press I to jump to the layer’s in-point. 8. Press Option+T (Alt+T) for opacity and activate the stopwatch. 9. Set a keyframe to 0% opacity. 10. Jump forward four-and-a-half seconds by pressing Cmd+G, then typing +4:15. 11. Set a keyframe to 100% opacity. 12. Flip the quality switches to Best Quality. ) 21 » A FEW SECONDS OVERLAP IS IMPORTANT FOR THE LOOP. 22 » THE PASCUZZI RULE: IF YOU CAN’T SOLVE IT… DISSOLVE IT.
After Effects @ Work: DV Expert Series by Richard Harrington