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Automated rendering and network rendering in After Effects.Adobe After Effects CS5 Download Free – OceanofEXE

 

Aharon Rabinowitz provides a video tutorial on the Creative COW website that goes through and explains the steps for rendering a still-image sequence with multiple computers. Follow the process illustrated in the image to understand the requirements to set up the network.

Computer with full version of After Effects B. Save a project and all source files to a folder on a server C. Computers with the render engine installed D. Open the project and render a still-frame sequence to a designated output folder on the server. You can use any number of computers for rendering; in general, the more computers, the faster the rendering.

However, if too many computers are used across a busy network, network traffic may slow down the entire process. Adobe does not provide technical support for general network configuration; consult your network administrator. Install After Effects on each computer that is used to render the project. Make sure that you have the same fonts installed on each computer. Do not share plug-ins across a network. Make sure that you have a copy of the plug-ins folder on each computer that is running After Effects.

When using third-party plug-ins, also be sure that the same plug-ins are available on all computers and that you have sufficient licenses for the plug-ins. This folder must be available for all the computers that are rendering. In the Render Queue panel, select Skip Existing Files allow multi-machine rendering in the Render Settings section so that multiple computers do not render the same frames.

Do not use multiple output modules for one render item when using skip existing files. Open the Render Queue panel on each computer and click Render. You do not need to start rendering on each computer simultaneously, but to ensure equal workloads, start them at approximately the same time.

As each computer finishes rendering a frame, After Effects searches the Output folder for the next unrendered frame and starts rendering again. After Effects CS5. In After Effects CS6 and later, you can now run aerender or use Watch Folder in a non-royalty bearing mode, so serialization not required. After Effects can render sequences and movie files into segments that are limited to a specified number of files or by file size.

This is useful when preparing a movie for a medium such as CD-ROM, for which file or folder size may need to be limited to chunks of MB or less. Use the Segment Sequences At value to set the maximum number of still-image files in a folder. If you are exporting a movie that is larger than the maximum file size for your hard disk formatting scheme, then you can set the Segment Video-only Movie Files At value to a value under this maximum.

The maximum size for a file for NTFS is large approximately 16 terabytes , so you are unlikely to reach this limit with a single movie. Only movies that do not contain audio can be segmented. If an output module includes audio, the Segment Video-only Movie Files At preference is ignored for that item. The Segment Sequences At preference is ignored for any render item for which Skip Existing Files is selected in the render settings.

See Render settings reference. To render and export a segmented movie, choose an output directory other than the root directory. See Specify filenames and locations for rendered output.

Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Automating rendering with aerender. Enter the command aerender -help to show usage information. The version and build number of the application are written to standard output stdout. Argument Description “-h” “—help” Print usage message. Log and render with placeholder color bars. Network rendering with watch folders and render engines.

Network considerations. Project considerations. Are there any other limitations or tips that apply to using the plug-in for network rendering? Collect Files folder considerations.

Track dependencies of a watch-folder render. This procedure assumes that you have already created a multiple-computer watch-folder. In the Render Queue panel, drag the output module to the Project panel. Drag the placeholder back to the Render Queue panel. Set the render settings and output module settings for the placeholder, and click Render. This is in contrast to many other file formats e. JPG or. GIF that restrict content to provide streamlined, predictable functionality.

A PSD file has a maximum height and width of 30, pixels, and a length limit of two gigabytes. These formats are required to use the file in publications or on the web. Photoshop can also create and use files with the extension. PSB, which stands for “Photoshop Big” also known as “large document format”. The dimension limit was apparently chosen arbitrarily by Adobe, not based on computer arithmetic constraints it is not close to a power of two, as is 30, but for ease of software testing.

Photoshop functionality can be extended by add-on programs called Photoshop plugins or plug-ins. Adobe creates some plugins, such as Adobe Camera Raw, but third-party companies develop most plugins, according to Adobe’s specifications. Some are free and some are commercial software. Most plugins work with only Photoshop or Photoshop-compatible hosts, but a few can also be run as standalone applications. There are various types of plugins, such as filter, export, import, selection, color correction, and automation.

The most popular plugins are the filter plugins also known as a 8bf plugins , available under the Filter menu in Photoshop. Filter plugins can either modify the current image or create content. Below are some popular types of plugins, and some well-known companies associated with them:. Adobe Camera Raw also known as ACR and Camera Raw is a special plugin, supplied free by Adobe, used primarily to read and process raw image files so that the resulting images can be processed by Photoshop.

Upon loading Photoshop, a sidebar with a variety of tools with multiple image-editing functions appears to the left of the screen. These tools typically fall under the categories of drawing ; painting ; measuring and navigation ; selection ; typing ; and retouching.

These can be expanded to reveal similar tools. In some newer versions hovering along the tools gives a small Video glimpse of the tool. Photoshop includes a few versions of the pen tool. The pen tool creates precise paths that can be manipulated using anchor points. The free form pen tool allows the user to draw paths freehand, and with the magnetic pen tool, the drawn path attaches closely to outlines of objects in an image, which is useful for isolating them from a background.

The Clone Stamp tool duplicates one part of an image to another part of the same image by way of a brush. The duplication is either in full or in part depending on the mode. The user can also clone part of one layer to another layer. The Clone Stamp tool is useful for duplicating objects or removing a defect in an image.

Photoshop provides an array of shape tools including rectangles, rounded rectangles, ellipses, polygons and lines. These shapes can be manipulated by the pen tool, direct selection tool etc.

In addition, Photoshop provides its own shapes like animals, signs and plants. The eyedropper tool selects a color from an area of the image that is clicked, and samples it for future use. Selection tools are used to select all or any part of a picture to perform cut, copy, edit, or retouching operations. The crop tool can be used to select a particular area of an image and discard the portions outside the chosen section. This tool assists in creating a focus point on an image and unnecessary or excess space.

The crop tool is in the tools palette, which is located on the right side of the document. By placing the cursor over the image, the user can drag the cursor to the desired area. Once the Enter key is pressed, the area outside the rectangle will be cropped. The area outside the rectangle is the discarded data, which allows for the file size to be decreased. The slice and slice select tools, like the crop tool, are used in isolating parts of images.

The slice tool can be used to divide an image into different sections, and these separate parts can be used as pieces of a web page design once HTML and CSS are applied. The move tool can be used to drag the entirety of a single layer or more if they are selected. Alternatively, once an area of an image is highlighted, the move tool can be used to manually relocate the selected piece to anywhere on the canvas. The marquee is a tool that can make selections that are a single row, single column, rectangular and elliptical.

This tool can also crop an image; it allows for better control. In contrast to the crop tool, the marquee tool allows for more adjustments to the selected area before cropping.

The only marquee tool that does not allow cropping is the elliptical. Although the single row and column marquee tools allow for cropping, they are not ideal, because they only crop a line. The rectangular marquee tool is the preferred option. Once the tool has been selected, dragging the tool across the desired area will select it.

The selected area will be outlined by dotted lines, referred to as “marching ants”. To set a specific size or ratio, the tool options bar provides these settings. Before selecting an area, the desired size or ratio must be set by adjusting the width and height. Any changes such as color, filters, location, etc. To crop the selection, the user must go to the image tab and select crop.

The lasso tool is similar to the marquee tool, however, the user can make a custom selection by drawing it freehand. The regular lasso tool allows the user to have drawing capabilities. Photoshop will complete the selection once the mouse button is released. The user may also complete the selection by connecting the end point to the starting point.

The “marching ants” will indicate if a selection has been made. The polygonal lasso tool will draw only straight lines, which makes it an ideal choice for images with many straight lines. Unlike the regular lasso tool, the user must continually click around the image to outline the shape. To complete the selection, the user must connect the end point to the starting point just like the regular lasso tool. Magnetic lasso tool are considered the smart tool.

It can do the same as the other two, but it can also detect the edges of an image once the user selects a starting point. It detects by examining the color pixels as the cursor moves over the desired area. Closing the selection is the same as the other two, which should also should display the “marching ants” once the selection has been closed.

The quick selection tool selects areas based on edges, similarly to the magnetic lasso tool. The difference between this tool and the lasso tool is that there is no starting and ending point.

For this reason, the selected area can be added onto as much as possible without starting over. By dragging the cursor over the desired area, the quick selection tool detects the edges of the image. The “marching ants” allow the user to know what is currently being selected. Once the user is done, the selected area can be edited without affecting the rest of the image.

One of the features that makes this tool especially user friendly is that the SHIFT key is not needed to add more to the selection; by default, extra mouse clicks will be added to the selection rather than creating a new selection. The magic wand tool selects areas based on pixels of similar values. One click will select all neighboring pixels of similar value within a tolerance level set by the user. If the eyedropper tool is selected in the options bar, then the magic wand can determine the value needed to evaluate the pixels; this is based on the sample size setting in the eyedropper tool.

This tool is inferior to the quick selection tool which works much the same but with much better results and more intuitive controls. The user must decide what settings to use or if the image is right for this tool. The Eraser tool erases content based on the active layer. If the user is on the text layer, then any text across which the tool is dragged will be erased. The eraser will convert the pixels to transparent, unless the background layer is selected.

The size and style of the eraser can be selected in the options bar. This tool is unique in that it can take the form of the paintbrush and pencil tools. In addition to the straight eraser tool, there are two more available options — background eraser and magic eraser. The background eraser deletes any part of the image that is on the edge of an object. This tool is often used to extract objects from the background. The magic eraser tool deletes based on similar colored pixels.

It is very similar to the magic wand tool. This tool is ideal for deleting areas with the same color or tone that contrasts with the rest of the image.

Using simple combinations of keys video layers can easily be modified, with other features such as adding text and creating animations using single images. With the Extended version of Photoshop CS5, 2D elements of an artwork can easily become three-dimensional with the click of a button. Extrusions of texts, an available library of materials for three-dimensional, and even wrapping two-dimensional images around 3D geometry.

Third-party plugins have also been added to the most recent version of Photoshop where technologies such as the iPad have integrated the software with different types of applications.

Applications like the Adobe Eazel painting app allows the user to easily create paintings with their fingertips and use an array of different paint from dry to wet in order to create rich color blending.

The program will feature cloud syncing with other devices and a simpler interface than the desktop version. The plug-in allows users to remove noise without the side-effect of over-sharpening, add grain, and even perform post-crop vignetting. From version Artists can add color, adjust the shape or rotate the angles of imported models, or design original 3D models from scratch.

The Color Replacement Tool allows the user to change the color, while maintaining the highlights and shadows of the original image, of pieces of the image. By selecting Brushes and right clicking, the Color Replacement Tool is the third option down. What is important to note with this tool is the foreground color.

The foreground color is what will be applied when painting along the chosen part of the image with the Color Replacement tool. Photoshop and derivatives such as Photoshopped or just Shopped have become verbs that are sometimes used to refer to images edited by Photoshop, [47] or any image manipulation program.

The same happens not only in English but as the Portuguese Wikipedia entry for image manipulation attests, even in that language, with the trademark being followed by the Portuguese verb termination -ar, yielding the word “photoshopar” to photoshop. Such derivatives are discouraged by Adobe [6] because, in order to maintain validity and protect the trademark from becoming generic , trademarks must be used as proper nouns.

Photoshop’s naming scheme was initially based on version numbers, from version 0. Adobe published 7 major and many minor versions before the October introduction of version 8. In February Adobe donated the source code of the 1. The first Photoshop CS was commercially released in October as the eighth major version of Photoshop.

Photoshop CS increased user control with a reworked file browser augmenting search versatility, sorting and sharing capabilities and the Histogram Palette which monitors changes in the image as they are made to the document.

Match Color was also introduced in CS, which reads color data to achieve a uniform expression throughout a series of pictures. Photoshop CS2, released in May , expanded on its predecessor with a new set of tools and features. It included an upgraded Spot Healing Brush, which is mainly used for handling common photographic problems such as blemishes, red-eye, noise, blurring and lens distortion. One of the most significant inclusions in CS2 was the implementation of Smart Objects, which allows users to scale and transform images and vector illustrations without losing image quality, as well as create linked duplicates of embedded graphics so that a single edit updates across multiple iterations.

Adobe responded to feedback from the professional media industry by implementing non-destructive editing as well as the producing and modifying of Bit High Dynamic Range HDR images, which are optimal for 3D rendering and advanced compositing. FireWire Previews could also be viewed on a monitor via a direct export feature. Image Warping makes it easy to digitally distort an image into a shape by choosing on-demand presets or by dragging control points.

The File Browser was upgraded to Adobe Bridge, which functioned as a hub for productivity, imagery and creativity, providing multi-view file browsing and smooth cross-product integration across Adobe Creative Suite 2 software.

Camera Raw version 3. Photoshop CS2 brought a streamlined interface, making it easier to access features for specific instances. The Use Default File Name And Folder preference ensures that all compositions added to the render queue are automatically assigned a unique output filename except for files created by saving previews, which still use the composition name. When this option is selected, each render item is assigned the same folder name as the previous render item until you change the path.

Avoid using high-ASCII or other extended characters in filenames for projects to be used on different platforms or rendered using a watch folder. You can add paths to templates. Absolute paths can be defined in a template. Render settings apply to each render item and determine how the composition is rendered for that specific render item. By default, the render settings for a render item are based on the current project settings, composition settings, and switch settings for the composition on which the render item is based.

However, you can modify the render settings for each render item to override some of these settings. Render settings apply to the root composition for a render item, as well as all nested compositions.

The default render settings template is assigned to a render item when it is created. To change which render settings template is the default, hold down Ctrl Windows or Command Mac OS as you choose a render settings template from the menu.

You perform the following tasks in the Render Settings Templates dialog box. Changes to an existing template do not affect render items that are already in the render queue.

Each of these settings overrides composition settings, project settings, or layer switch settings. You can choose how much information After Effects writes to a render log file. If you choose Errors Only, After Effects only creates the file if errors are encountered during rendering. If you choose Plus Settings, a log file is created that lists the current render settings. If you choose Plus Per Frame Info, a log file is created that lists the current render settings and information about the rendering of each frame.

The quality setting to use for all layers. See Layer image quality and subpixel positioning. Resolution of the rendered composition, relative to the original composition dimensions. See Resolution. If you render at reduced resolution, set the Quality option to Draft.

Rendering at Best quality when reducing resolution produces an unclear image and takes longer than Draft quality. Determines whether the disk cache preferences are used during rendering.

Read Only writes no new frames to the disk cache while After Effects renders. Determines whether to use proxies when rendering. Current Settings uses the settings for each footage item. See Placeholders and proxies. Current Settings default uses the current settings for Effect switches. All On renders all applied effects. All Off renders no effects. Solo Switches. Current Settings default uses the current settings for Solo switches for each layer. All Off renders as if all Solo switches are off.

See Solo a layer. Guide Layers. Current Settings renders guide layers in the top-level composition. All Off the default setting does not render guide layers. Guide layers in nested compositions are never rendered. See Guide layers. Current Settings default uses the project bit depth. See Color depth and high dynamic range color.

Frame Blending. On For Checked Layers renders frame blending only for layers with the Frame Blending switch set, regardless of the Enable Frame Blending setting for the composition. See Frame blending. Field Render. Determines the field-rendering technique used for the rendered composition. Choose Off if you are rendering for film or for display on a computer screen.

See Interlaced video and separating fields. Specifies the phase of pulldown. See Introduce pulldown. Current Settings uses the current settings for the Motion Blur layer switch and the Enable Motion Blur composition switch. On For Checked Layers renders motion blur only for layers with the Motion Blur layer switch set, regardless of the Enable Motion Blur setting for the composition.

Off For All Layers renders all layers without motion blur regardless of the layer switch and composition switch settings. See Motion blur. How much of the composition to render. To render the entire composition, choose Length Of Comp. To render only the part of the composition indicated by the work area markers, choose Work Area Only. To render a custom time span, choose Custom. See Work area. The sampling frame rate to use when rendering the movie. The actual frame rate of the composition is unchanged.

The frame rate of the final encoded movie is determined by the output module settings. See Frame rate. Skip Existing Files. Lets you rerender part of a sequence of files without wasting time on previously rendered frames. When rendering a sequence of files, After Effects locates files that are part of the current sequence, identifies the missing frames, and then renders only those frames, inserting them where they belong in the sequence. You can also use this option to render an image sequence on multiple computers.

See Render a still-image sequence with multiple computers. The current image sequence must have the same name as the existing image sequence, and the starting frame number, frame rate, and time span must be the same. You must render to the folder that contains the previously rendered frames. Output module settings apply to each render item and determine how the rendered movie is processed for final output. Use output module settings to specify file format, output color profile, compression options, and other encoding options for final output.

You can also use output module settings to crop, stretch, or shrink a rendered movie; doing this after rendering is often useful when you are generating multiple kinds of output from a single composition. Output module settings are applied to the rendered output that is generated according to the render settings.

For some formats, an additional dialog box opens when you choose the format in the Output Module Settings dialog box. You can modify these settings and use settings presets to specify format-specific options, such as compression options. You can apply multiple output modules to each render item, which is useful when you want to make more than one version of a movie from one render.

For example, you can automate the creation of a movie and its alpha matte, or you can create high-resolution and low-resolution versions of a movie. Before rendering, check the Audio Output settings in the Output Module Settings dialog box to ensure that they are correct. To render audio, Audio Output must be selected. If your composition does not include audio, do not select Audio Output, so that the size of the rendered file does not increase needlessly.

You can set the output module of multiple render queue items at the same time. Select the render queue items, and then choose an output module template from the Output Module Settings menu for one of the items. You can drag an output module to the Project panel to import the finished movie or a placeholder into the project for use as a footage item. Andrew Kramer provides a video tutorial with tips for working with proxies, output modules, and output module templates on the Video Copilot website.

You can choose a custom output module settings template or one of the preset output module settings templates. Several templates are provided, including the Lossless template for creating movies for transfer to video, film, or an NLE system. The default output module settings template is assigned to a render item when it is created.

To change which output module template is the default, hold down Ctrl Windows or Command Mac OS as you choose an output module template from the menu. To change output module settings for multiple output modules at once, select the output modules and then choose an output module template. The template is applied to all selected output modules. You perform the following tasks in the Output Module Templates dialog box. For information on using controls in the Color Management area of the Output Module Settings dialog box, see Assign an output color profile.

Include Project Link. Specifies whether to include information in the output file that links to the source After Effects project. When you open the output file in another application, such as Adobe Premiere Pro, you can use the Edit Original command to edit the source project in After Effects. Specifies whether to include XMP metadata in the output file from the files used as sources for the rendered composition.

XMP metadata can travel all the way through After Effects from source files, to footage items, to compositions, to rendered and exported files. Post-Render Action. Specifies an action for After Effects to perform after the composition is rendered.

See Post-render actions. Format Options. The output channels contained in the output movie. Not all codecs support alpha channels. Therefore, you do not have to specify an alpha interpretation each time you import an item created in After Effects. Specifies the color depth of the output movie. Certain formats may limit depth and color settings.

Specifies how colors are created with the alpha channel. Choose from either Premultiplied Matted or Straight Unmatted. See Alpha channel interpretation: premultiplied or straight. Specifies the number for the starting frame of a sequence. The Use Comp Frame Number option adds the starting frame number in the work area to the starting frame of the sequence. Specifies the size of your output movie. Select Lock Aspect Ratio To if you want to retain the existing frame aspect ratio when resizing the frame.

See Scaling a movie down and Scaling a movie up. Used to subtract or add rows or columns of pixels to the edges of the output movie. You can specify the number of rows or columns of pixels to be added or subtracted from the top, left, bottom, and right sides of the movie.

Use positive values to crop, and use negative values to add rows or columns of pixels. Select Region Of Interest to export only the region of interest selected in the Composition or Layer panel. See Region of interest ROI. By adding one row of pixels to the top and subtracting one row from the bottom of a movie, you can change the field order. Audio Output. Specifies the sample rate, sample depth 8 Bits or 16 Bits , and playback format Mono or Stereo. Choose a sample rate that corresponds to the capability of the output format.

Choose an 8-bit sample depth for playback on the computer, and a bit sample depth for CD and digital audio playback or for hardware that supports bit playback. The specifications for some formats impose limits on audio parameters. In such cases, audio options may be unavailable for modification in the Output Module Settings dialog box. Also, audio options for some formats are set in the export settings dialog box for that format. Click the warning icon to see a detailed message that describes how the output file will be modified to meet the format constraints.

You can go back and change composition settings, render settings, and output module settings if you don’t want After Effects to make the changes automatically in the output module. For more information about output module constraints and the warnings for mismatches in frame rate, dimensions, and pixel aspect ratio, see the Adobe website.

Compression is essential for reducing the size of movies so that they can be stored, transmitted, and played back effectively. Compression is achieved by an encoder; decompression is achieved by a decoder. Encoders and decoders are known by the common term codec.

No single codec or set of settings is best for all situations. For example, the best codec for compressing cartoon animation is generally not efficient for compressing live-action video. Similarly, the best codec for playback over a slow network connection is generally not the best codec for an intermediate stage in a production workflow.

For information on planning your work with final output in mind, see Planning your work. After Effects uses an embedded version of the Adobe Media Encoder to encode most movie formats through the Render Queue panel.

For most output formats, you can specify format-specific encoding and compression options. In many cases, a dialog box opens and presents these options when you choose a format to export to or click the Format Options button in the Output Module settings dialog box. See Output modules and output module settings. Key Frame Every. In QuickTime terminology, the term key frames refers to something different from the change-over-time keyframes placed in the After Effects Timeline panel.

In QuickTime, key frames are frames that occur at regular intervals in the movie. During compression, they are stored as complete frames. Each intermediate frame that separates them is compared to the previous frame, and only changed data is stored. Using key frames greatly reduces movie size and greatly increases the memory required to edit and render a movie.

Shorter intervals between key frames enable faster seeking and reverse playback, but can significantly increase the size of the file. Frame Reordering.

 
 

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