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This course pulls together the skills you've been learning in the previous After Effects Apprentice installments to create a real-world video promo. Trish leads you through building the artwork and components used in the final piece, and then Chris shows how to assemble these precompositions into a 3D world, timed to music. Along the way, Trish and Chris also share their thoughts as they design a video project, including unifying the overall look and handling change requests from clients.
The After Effects Apprentice videos on lynda.com were created by Trish and Chris Meyer and are designed to be used on their own and as a companion to their book After Effects Apprentice. We are honored to host these tutorials in the lynda.com library.
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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