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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illustrator file in After Effects problem

 illustrator file in After Effects problem 

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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after effects Combining Different Aspect Ratios and FPS

after effects Combining Different Aspect Ratios and FPS

Hi there, I'm new to after effects and I'm looking for tips on how I can seamlessly merge compositions together to make it look as one such as the one shown in many of Andrew Kramers product showcases especially the evolution one here
I believe they are multiple compositions (pre-comps) inside one main comp. Sure Target could have been used to move the camera from comp to comp; and it looks like they either just move past the camera or the opacity is lowered to make them invisible to reveal the composition behind.

1. Dynamic linking PP into AE, then copy and pasting my entire timeline. Problem: the graded footage doesn't show back up in the timeline in PP. Instead, it's contained within the dynamically linked file which has NO transitions, the timing is messed up, etc.

2. Dynamic linking AE into PP, after having copy and pasted my footage from PP. I then paste the footage back into PP, but none of the grading appears. And all my transitions are gone. Plus, when I try to render, the entire picture gets squished. 

3. Selecting each clip and "Replace with after effects composition" works like it should...until either/both programs crash and cause all kinds of dynamically linked issues. Plus, I lose transitions doing it this way and when adding back in the transitions, I get an error "not enough frames, will double frames..." and it never looks right.

My ideal workflow would be to simply finish the edit in PP, move the whole project to AE, and edit each clip, all while retaining the transitions from PP. And then render/export out of AE. 

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export Twixtor slow motion video from after effects

export Twixtor slow motion video from 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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