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Adobe After Effects CS5.5, version 10.5.1, addresses difficulties with some serial numbers for upgrades from After Effects CS5 to After Effects CS5.5. If you are trying to upgrade from After Effects CS5 to After Effects CS5.5, as well as the software isnt accepting your serial number, install this update. If this doesnt resolve your issue, contact Adobe Customer Service.
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By using software of Adobe Systems Incorporated or its subsidiaries Adobe ; you say yes to the following fine print. If you do not trust such conditions and terms; do not utilize the software. The comparison to its an end user license agreement accompanying a unique software file upon installation or download on the software shall supersede the terms presented below.
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The industry-standard animation and artistic compositing app enables you to design and deliver professional motion graphics and visual effects for film, TV, video and web.
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This section focused on the memory of Dave Dixon, certainly one of its first moderators, and friend to any or all here. He was recinded from us too early. 12-10-03 - - Rest in Peace Dave.
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Adobe After Effects CS6 for Mac will give you professional tools for creating special video effects and making complex video edits. This subscription software incorporates a free trial and it is the current industry standard. Because from the sheer volume of features it contains, it will require a powerful Mac as a way to run smoothly.
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The Adobe Application Manager allows you to take away the product from the computer. The Adobe Application Manager is protected with Adobe Creative Suite 5, CS5.5 and CS5 and CS5.5 point products.
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Whether youre employed in broadcast, film, or delivering work web to mobile phones, Adobe After Effects CS5 software lets you create groundbreaking motion graphics and blockbuster visual effects.
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Control which parts of a layer are visible by drawing and animating masks. The revolutionary new Roto Brush tool handles rotoscoping in a very fraction from the time. Remove bluescreen and greenscreen backgrounds together with the award-winning Keylight.
Get a rise start animating text and creating synthetic backgrounds with an increase of animation presets. Use Brainstorm to experiment and refine designs. Learn fast with help, tool tips, and training resources around the web.
The revolutionary new Roto Brush means that you can separate foreground aspects of complex backgrounds within a fraction on the time it could take using traditional rotoscoping techniques. Click to enlarge.
You can outline and track complex objects in mocha for After Effects CS5 top, export the tracked shapes, and apply them for your footage while using the mocha shape effect in After Effects CS5 above. Motion blur and variable-width per-point mask feathering are maintained that can help create the harder realistic composites.
After Effects CS5 includes native support with the new AVC-Intra 50 and AVC-Intra 100 codecs, along with expanded native support for footage from RED cameras.
Apply realistic motion blur. Use Timewarp to reduce and increase footage. Remove unwanted movement together with the Motion Stabilizer, or precisely match the motion of source footage with mocha for After Effects.
Deliver your job anywhere. Compatibility by having an extensive set of output formats permits you to produce animated content for almost any media, from film and broadcast for the web and mobile phones.
Get precise, predictable color in After Effects with support for high dynamic range 32-bit-per-channel floating point color, including Pro EXR files, ICC-based color management tools, and new color lookup tables LUTs.
One on the most significant advances in After Effects is the fact that it is a fully native 64-bit application. This yields numerous advantages, such as the ability to fully make use of computers memory for dramatic improvements when taking care of high-resolution projects.
Just some time ago, that it was normal to be effective on standard-definition video with a color depth of 8 bits per channel bpc. Today, it is common to figure on high-definition video at the depth of 16 bpc. And while some artists manipulate After Effects on film projects since earliest versions, digital cinema cameras including the RED One are commonly in use-making 4K images in 32-bit floating-point color increasingly common. And the memory demands dont hold on there.
For example, RED has announced cameras that sport 5K, 6K, 9K, and also 28K frame sizes. Native 64-bit OS support in After Effects CS5 means you are able to work on ever-higher-resolution projects with assurance.
On 32-bit os's, the 2GB to 4GB memory restriction for each and every application sharply limit the number of image frames is usually held in RAM on the same time-which in return constrains the size of full-motion previews plus the complexity of projects overall. Even with disk caching and virtual memory, working together with HD content using older versions of After Effects on 32-bit systems means chances are you'll be made to wait while images are swapped in and beyond RAM or re-rendered the very next time they are needed. Resourceful artists are suffering from strategies to operate around these limitations-for instance working at lower resolutions or frame rates or using proxies of lower-quality sources-but these come using the trade-off of not seeing your composition to use final form because you work.
With After Effects CS5, these limitations don't apply. Support for 64-bit os's means After Effects CS5 can access all your computers available RAM. This incorporates a dramatic, positive effect for the type, size, and complexity of projects you'll be able to take on-in addition to how fluidly you'll be able to work. With After Effects CS5 running on the 64-bit os with 32GB of RAM, you'll be able to preview a 30-second HD comp at full resolution at 32 bpc. This lets you preview your whole composition at maximum fidelity the whole time.
Beyond having the capacity to preview longer continuous stretches of one's project, rendered image frames are definitely more likely to be placed in memory, permitting you to move around a projects timeline or between compositions without losing already-rendered frames. Additionally, memory buffer errors as a result of RAM constraints are virtually eliminated. These improvements increase productivity, which subsequently facilitates creativity.
In Adobe Creative Suite 5 Production Premium, you'll be able to coordinate RAM allocation for After Effects, Adobe Premiere Pro, Adobe Encore, and Adobe Media Encoder due to cross-component memory management. This permits you to make the most of the system resources without learning complex memory-management settings.
Many shots require separating a foreground object-such being an actor-from its current live action background so the object can be placed in a very completely new environment. The revolutionary new Roto Brush gives a fast, efficient solution for isolating these foreground elements in complex scenes. In days gone by, this sort of work was time-consuming and expensive, and consequently, the process was often accessible big-budget projects. The new Roto Brush is really fast that After Effects artists is now able to perform rotoscoping on every project-from previsualization to final composites-with reduced concern about project budgets or deadlines.
To make use of the new Roto Brush, just draw simple paint strokes in the foreground object, and let After Effects calculate the spot that the rest in the foreground object is. If the foreground and background resemble, you'll be able to draw additional paint strokes to educate After Effects which elements are inside background. After Effects determines in which the foreground and background are stored on subsequent frames; you'll be able to refine results with additional strokes. The process is fast and intuitive-and because After Effects does hard work of seeking the edges, Roto Brush eliminates the tedium traditionally associated together with the task.
Once youve defined the foreground and background areas, it is possible to control the quality with the edges involving the two using alternatives for smoothing, feathering, or choking spreading inside or outside from the original edge. After Effects can calculate motion blur for fast-moving portions in the edge to supply photo-realistic, professional results with minimal effort. Edge chatter from frame to frame is automatically reduced, as well as in addition you may remove background color from semitransparent edges in the foreground object. And should the resulting alpha channel still requires additional refinement, it is possible to use the paint tools already included in After Effects to help promote tweak your results.
The Roto Brush expands your creative options by assisting you to offer results which need sophisticated rotoscoping-on just about any project. Professional-quality results is usually realized dramatically faster along with far less tedium: artists already are reporting that this process of rotoscoping takes a fraction in the time it required within the past. This means it is possible to accomplish creative treatments that previously were feasible exclusively on big-budget projects-from isolating elements for targeted color enhancement to placing design elements for example text or logos between actors as well as their backgrounds.
Real-world projects typically require motion tracking, and a lot of shots present tracking challenges for example elements which go partially outside of frame or include motion blur. mocha for After Effects CS5-an updated version in the software added with After Effects CS5-has a distinctive planar tracker making it easy to handle the most difficult tracking and stabilization tasks. Also included with this release will be the mocha shape plug-in, which enables you to utilize tracking data in new ways. stabilization tasks. mocha for After Effects CS5 and mocha shape have user interfaces which are English only.
This updated turmoil mocha includes the capability to apply motion tracking to hand-drawn masks, which can be a significant time-saver. In addition, motion-blurred or semitransparent areas are often handled with new support for varible-width mask feathers. And like After Effects CS5, mocha for After Effects CS5 is usually a native 64-bit application.
Included for your first time in After Effects CS5, the mocha shape plug-in permits you to copy and paste multiple motion-tracked masks from mocha to your After Effects layer, fully preserving their qualities, including any variable-width mask feather settings. This is particularly great for shots that have camera movements or moving objects that want masking.
One in the other new features you will discover useful is always that Bezier or X-spline animated roto shapes created in mocha could be converted into mask shapes in After Effects, where they might be further refined and manipulated without requiring a visit back into mocha. Also with mocha for After Effects CS5, motion blur data is currently included within the exported tracking data. This lets you re-make the motion blur that occurred within the original footage.
The updated Histogram display makes it better to visualize and edit individual color channels.
Color Finesse 3 LE is significantly updated, including vibrance control, highlight recovery, and HSL curves. Click to enlarge.
FreeForm lets you warp or extrude any After Effects layer in 3D space.
After Effects CS5 includes native support to the new AVC-Intra 50 and AVC-Intra 100 codecs, together with expanded native support for footage from RED cameras.
AVC-Intra can be used by high-quality Panasonic cameras much like the AJ-HPX300, AJ-HPX3700 VariCam, and AJ-HPX2700 VariCam, and also recorders such as AJ-HPM110. According to Panasonic documents, AVC-Intra 100 could be the highest recording quality available in the one-piece camcorder-comparable to mastering video quality-and is also explicitly designed and optimized for broadcast and production. Adobe Premiere Pro CS5 also supports AVC-Intra, so there isnt any barrier to integrating After Effects with Adobe Premiere Pro projects if you want to work with AVC-Intra.
After Effects CS5, like Adobe Premiere Pro CS5, provides full native support for RED R3D files, helping you to import them directly without transcoding, rewrapping, or installing additional software. Because the files you import contain raw sensor data, you edit footage which is as close as to the the camera captured as is possible, enabling you to be effective nondestructively for the color and look of the projects. This includes the chance to edit enhanced parameters for example Debayer Detail, Chroma Denoise, White Balance, ISO settings, and even more.
With After Effects CS5, you'll be able to work with content to all common RED R3D file permutations, including 2K, 3K, 4K, 4K HD, 16x9, and 2x1, by using a number of different frame rates.
After Effects has long featured powerful, flexible keyframing. However, artists not used to After Effects have expressed a desire an automatic method to begin keyframing their animations.
To assist these artists, After Effects CS5 provides an Auto-keyframe mode. When Auto-keyframe mode is on, modifying home automatically turns its stopwatch on and adds a keyframe at the present time. This prevents you against working which has a layers properties and then realize later that After Effects would not capture any within your changes. Parameters that might be automatically keyframed include position, rotation, shape properties, mask properties, effect point controls, and camera manipulation.
In every release, After Effects introduces a multitude of refinements to popular features. Experienced professionals understand that while individually these changes might seem subtle, collectively they've created the day-in and day-out connection with working with After Effects smoother plus more intuitive. Among many such features incorporated After Effects CS5 are:
The new Refine Matte effect that means that you can take advantage in the intelligent edge tracking, dechattering, and motion blurring capabilities present in Roto Brush and apply those to any layer having a problematic alpha channel, like keyed footage
New options which allow you to align layers to some compositions boundaries, making it quicker to precisely center objects and pick up the layout of your respective image frame overall
Enhanced support for Photoshop adjustment layer types, including Selective Color, Black it is possible to also apply these color correction effects to the layer
A new choice for per-character 3D text animation that enables each character to orient toward your camera around its very own anchor point, further enhancing the illusion of 3D
A new Type option from the Camera Settings dialog box that permits you to easily specify if your camera can be a one-node or two-node camera, adapting in your preferred method for aiming and animating 3D cameras
The power to import layered PSD files as well as extruded 3D layers created using the new Adobe Repouss feature inPhotoshop CS5 Extended.
A new keyboard shortcut to point you to either selected layers or all layers, in addition to many other improvements to camera tools and settings
New options to color-code panel tabs with all the composition, footage item, or layers label color, which makes it easier to distinguish elements in a glance in the complex project
Rendered Output Modules may now be dragged to some folder within the Project panel, resulting inside the import in the output files into that folder for quick inclusion of rendered elements
New methods of specifying the dimensions of Bezier direction handles and vertices for masks and shapes and also direction handles for motion paths, which makes them easier to see on todays larger monitors
Tooltips added for each and every vertex from the Graph Editor, which display the layer name, property name, time, and value in the keyframe, making it simpler to precisely check values for a glance
Numerous enhancements to scripting, for example the ability to get into parameters for adaptive motion blur, text tracking, label attributes, and per-character auto-orientation
After Effects CS5 adds support for custom color look-up tables LUTs within the popular 3DL and CUBE file formats, which can be loaded to the new Apply Color LUT effect. This makes it possible, as an example, to receive coming from a film output facility a custom LUT that reflects the precise color correction they may be performing over a project, and simulate within After Effects the result would look like on the specific bit of footage or final composite. You can also take advantage of this new feature to predict how your images can look through an unusual output chain like displaying by having a certain projector in a trade show or site-specific installation. In short, Color LUT support will give you confidence which the creative and technical decisions you're making will translate properly to final output inside an even wider selection of situations than before, and help ensure color consistency across multiple devices.
After Effects CS5 includes an latest version of one in the most powerful desktop color correction tools available: Synthetic Apertures Color Finesse 3 LE. Color Finesse includes a user interface that's English only. The latest release in this versatile tool introduces numerous refinements, supplying you with new methods to perfect your images. New features in Color Finesse 3 LE include:
Hue and saturation curve controls, yielding finer treatments for your color corrections
A new vibrance control that works in a very way similar on the one in Adobe Lightroom software, providing an even more subtle option to altering saturation
New highlight-recovery feature, meaning you lose less image detail whenever you have to conform high dynamic range footage for the limitations of video
Color Finesse LE can be capable of exporting how you look as color look-up tables, that may then be employed in After Effects CS5 which consists of new Apply Color LUT effect. Plus, Color Finesse 3 LE has become updated to natively support 64-bit systems.
Digieffects FreeForm-added to After Effects to the first time in Creative Suite 5-vastly increases your 3D design options, helping you to do more in After Effects, like creating flags, bending floating video panels, and extruding layers without requiring a side trip into dedicated 3D software. FreeForm automatically responds to 3D cameras and lights in After Effects, making it simple to integrate the results with this effect into any 3D scene. FreeForm carries a user interface that is certainly English only.
Users of After Effects CS5 could also enhance their workflow on large After Effects projects by accessing Adobe CS Live online services, available separately, including:
Adobe Story, the new online service for crafting scripts. Story permits you to capture metadata from the writing phase, and employ that metadata to plan your shoot more proficiently in Adobe OnLocation and help make a preliminary rough cut in Adobe Premiere Pro.
Adobe CS Review, an internet service that permits peers and clients to take part from the review of page layouts, image comps, illustrations, and video sequences.
a group of online services for creative professionals who have to accelerate discussion and knowledge exchange with colleagues and clients.
For more details about these as well as other CS Live services, visit /go/CSLive.
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Date first at : April 12, 2010
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After Effects is surely an incredibly powerful video effects editor and creator. It may look expensive except for less than the buying price of a decent videocamera, assuming you already use a decent computer that could run 64bit programs, you use a sophisticated program that means that you can build effects within your house that will rival and in many cases match the effort done in professional television and movie studios. Of course, much in the professional work the truth is on television along with films is being done using After Effects and other programs after utilizing it for a while, when I view tv, Im about the lookout for commercials and effects within television programs that that has a bit more practice I know I could create in this little Mac applying this program. As far as Im concerned, After Effects is just an essential tool for independent videographers and filmmakers. Basically, it enables you to manipulate and enhance video you already have so that you can achieve the look you need, and enables you to create video effects which could either stand-alone or match your footage for a few astonishing results. One thing, though, is the fact because this is definitely an incredibly versatile program, which could accomplish nearly everything else you could imagine, it can be quite complex.
This just isn't really a plan to learn on your own own by tinkering - I tried playing around along with it for some days, and could copy several intriguing effects determined by web tutorials. But when I tried to tweak what you should my own taste or get a new recipe I found myself losing your way. There are lots of helpful guides online, and there may be a very active and eager-to-help lot of After Effects users with great advice, especially on Adobes help site along with their video tutorial site. Read more
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dude, seriously?! Thats the value youre using? I barely paid more for my macbook pro! You must be an idiot if you believe anyones gonna pay that price, when they can pay 20 a month with the NEWEST version. If you ever get hope of selling that thing its gonna have too be somewhere under 400. Probably way
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