Adobe After Effects CS3 Bedienungsanleitung PDF herunterladen (Seite 34)

AFTER EFFECTS CS3

User Guide

The best way to ensure that your movie is suitable for a specific medium is to render a test movie and view it using

thesametypeofequipmentthatyouraudiencewillusetoviewit.It’sbesttodothisbeforeyouhavecompletedthe

difficult and time-consuming parts of your work, to uncover problems early.

AharonRabinowitzhasanarticleontheCreativeCOWwebsiteaboutplanningyourprojectwiththefinaldelivery

specifications in mind: www.adobe.com/go/learn_ae_aharonplanning.

For introductions to digital video, digital audio, high-definition video, DVD, compression, and streaming video, visit

the Adobe website at www.adobe.com/go/learn_dv_primers.

To see a video tutorial on creating and organizing projects, visit the Adobe website at www.adobe.com/go/vid0221.

Acquiring, choosing, and preparing footage

Before importing footage, first decide which media and formats you'll use for your finished movies, and then

determine the best settings for your source material. Often, it’s best to prepare footage before importing it into After

Effects.

For example, if you want an image to fill your composition frame, configure the image in Adobe® Photoshop® so that

the image size and pixel aspect ratio match the composition size and pixel aspect ratio. If the image is too large when

you import it into After Effects, you’ll increase the memory and processor requirements of the compositions that use

it. If the image is too small, you’ll lose image quality when you scale it to the desired size. See “Change pixel aspect

ratio” on page 55.

If possible, use uncompressed footage: less compression means better results for many operations, such as keying and

motion tracking. Certain kinds of compression—such as that used in DV encoding—are especially bad for color

keying, because they discard the subtle differences in color that you depend on for good bluescreen or greenscreen

keying. It’s often best to wait until the final rendering phase to use compression. See “Keying overview and tips” on

page 268.

If possible, use footage with a frame rate at least that of your output, so that After Effects doesn’t have to use frame

blending or similar methods to fill in missing frames. See “Change frame rate” on page 53.

The kind of work that you’ll be doing in After Effects and the kind of output movie that you want to create can even

influence how you shoot and acquire your footage. For example, if you know that you want to animate using motion

tracking, you should consider shooting your scene in a manner that optimizes for motion tracking—for example,

attaching a small, brightly colored ball to the object that you intend to track. See “Motion tracking workflow” on

page 336.

Project settings

Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the

project, and what sampling rate to use for audio. Of these, the color settings are the ones that you need to think about

before you do much work in your project, because they determine how color data is interpreted as you import

footagefiles,howcolorcalculationsareperformedasyouwork,andhowcolordataisconvertedforfinaloutput.See

“Color management” on page 241 and “Change time display units” on page 131.

Ifyouenablecolormanagementforyourproject,thecolorsthatyouseearethesamecolorsthatyouraudiencewill

see when they view the movie that you create.

Note: Click the color depth indicator at the bottom of the Project panel to open the Project Settings dialog box. Alt-click

(Windows) or Option-click (Mac OS) to cycle through color bit depths: 8 bpc, 16 bpc, and 32 bpc. See “Set the color depth”

on page 234.

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