For the staff of CHUM Television,
a recap of the after effects interface,
from March 6th and 7th, 2006.
Imagine taking Adobe’s superb render engine at the heart of Photoshop and setting it to a
timeline not unlike an Avid or Final Cut Pro editor. Every Photoshop parameter that is numeri-
cally definable is now also key-frame enabled. The result is the ability to animate composites of
two dimensional layers with full channel operation functionality, in a Z plane ... over time. Using
bézier curves not just for shaping objects, but for elegantly describing intricate velocities and
trajectories, amongst other complex characteristics, for highly polished results.
03-01 start with the project window
The starting point for all After Effects projects is the project window. For those coming from an
Avid background, think of this window as you would a series of nested bins. All your assets; video,
vectors, bitmaps, audio and compositions are kept in this one window. The project windows fea-
tures reflect its function, like a mini file system, you can nest folders within folders, and rename
and reposition items at will. With an eye towards entropy, keep this window well organized.
03-02 import footage [a.k.a. assets/source files]
The term footage, is what Adobe chose to call assets intended for After Effects. Just as one
captures video prior to editing, the very first step in an After Effects project is to import footage,
the source files to be used in the composition. After Effects accepts most file formats for bitmaps,
vectors, video and audio. To import footage:
03-02-01] Choose: File > Import > File... or
03-02-03] Choose: File > Import > Multiple Files... or
right click inside the project window to reveal a contextual pull-down, from
which you may do any of the above as well as create a new project or folder [bin].
You will then be presented with a file navigation dialogue, from her