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Exploring render settings

From: After Effects Apprentice 15: Creating a Sports Opening Title

Video: Exploring render settings

Let's talk about rendering and a few different scenarios you might need to consider. Now you probably already know how to render. We've mentioned it at the very end of the original Pre-Roll lesson for After Effects Apprentice. But if you have a Composition open you can choose Composition > Make Movie, the shortcut for edges has been Ctrl+M on Windows, Command+M on Mac. Newest versions of After Effects require you to press Command+M, or Ctrl+M on Mac, so it does not interfere with the system's minimize command. Once you've added something to the Render Queue--and I'll dock this up in the same frame as the Comp panel so I can see it better.

Exploring render settings

Let's talk about rendering and a few different scenarios you might need to consider. Now you probably already know how to render. We've mentioned it at the very end of the original Pre-Roll lesson for After Effects Apprentice. But if you have a Composition open you can choose Composition > Make Movie, the shortcut for edges has been Ctrl+M on Windows, Command+M on Mac. Newest versions of After Effects require you to press Command+M, or Ctrl+M on Mac, so it does not interfere with the system's minimize command. Once you've added something to the Render Queue--and I'll dock this up in the same frame as the Comp panel so I can see it better.

You can have a composition with multiple output modules. So let's talk about your Render settings and different output modules you might want to create. The default templates used for rendering and for output are set underneath Edit > Templates, you click on the name to edit your template. Now in this case I've made a few changes from the typical best settings template. One, I've set the color depth up to 16-bits per channel. I've been working at 8-bits per channel, because it does preview a lot faster, but for that final bit of quality, to get a rid of possible blending and color corrections and gradients et cetera, I recommend that you always render at 16-bits per channel.

By setting it here you don't have to remember to set it in the Project settings. Another thing that's very important is whether or not to field render. Increasingly, people are rendering progressive scanned videos. In other words, the Field Renderer is turned off. If your destination is the web, you need to have Field Rendering turned off. Most hi-def content these days is 24, 30, 60P for progressive. You might have requirement of I for Interlaced, then check with your client to seek what they want. But quite often you're going to be leaving this Off these days.

Now you might remember we're turning Motion Blur on and off quite a bit depending on our render times. This is where the default of On for Checked layers is very important. If you leave it at Current Settings, it's going to look at that Composition switch and possibly not render Motion Blur. This way all the layers that have it turned on will get Motion Blur, regardless of how you are previewing. The other thing that's easy to overlook is the time span. You may remember that in final composition we've been previewing with the work area just that transition we created, but for the final render we want to do the Length of Comp.

So it's really important that you set up your templates to use Length of Comp as your default. The other settings tend to make sense. Make sure you always render in Best quality. I'll click OK.

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This video is part of

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  1. 3m 39s
    1. Welcome
      1m 39s
    2. Using the exercise files
      2m 0s
  2. 17m 38s
    1. Building the grid floor
      8m 48s
    2. Creating a radar sweep
      5m 13s
    3. Adding lightning
      3m 37s
  3. 14m 18s
    1. Building the video panel
      4m 34s
    2. Using the Block Dissolve effect
      3m 52s
    3. Stylizing the footage
      2m 15s
    4. Duplicating precomps
      3m 37s
  4. 21m 22s
    1. Importing Illustrator files
      5m 47s
    2. Working with paths and masks
      4m 54s
    3. Animating the Stroke effect
      4m 20s
    4. Tinting the event names
      2m 42s
    5. Wiggling the rings
      3m 39s
  5. 33m 35s
    1. Starting a new composition
      1m 48s
    2. Spotting music
      5m 55s
    3. Building the floor
      5m 27s
    4. Adding a video panel
      3m 40s
    5. Creating a reflection
      7m 47s
    6. Adding the dial
      4m 7s
    7. Arranging the frame
      4m 51s
  6. 9m 22s
    1. Setting up the final pose
      4m 28s
    2. Keyframing the camera
      4m 54s
  7. 14m 39s
    1. Adding a text layer
      5m 16s
    2. Using text animation presets
      3m 16s
    3. Customizing the preset
      6m 7s
  8. 6m 56s
    1. Adding a Spot light
      3m 41s
    2. Casting shadows
      3m 15s
  9. 12m 7s
    1. Improving consistency
      2m 43s
    2. Adding a 2D background
      4m 29s
    3. Tying up loose ends
      4m 55s
  10. 20m 37s
    1. Overview of Main Comp 2
      3m 32s
    2. Grouping layers
      4m 39s
    3. Animating the swivel
      9m 2s
    4. Assembling the final comp
      3m 24s
  11. 25m 56s
    1. Adding a transition
      7m 0s
    2. Keyframing the camera
      3m 20s
    3. Adding a filmic glow
      4m 0s
    4. Increasing the motion blur
      4m 2s
    5. Retiming a video source
      7m 34s
  12. 13m 4s
    1. Exploring render settings
      2m 48s
    2. Outputting for archiving
      1m 15s
    3. Outputting anamorphic widescreen DV
      1m 57s
    4. Creating a 4:3 center-cut version
      2m 31s
    5. Outputting for web
      2m 23s
    6. Exploring components for editors
      2m 10s
  13. 12m 49s
    1. Creating the inner ring
      5m 19s
    2. Creating the outer ring
      3m 9s
    3. Creating the text ring
      4m 21s

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