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Delve into the world of motion graphics, keying, and compositing in After Effects CC. In this course, Ian Robinson lays out six foundations for becoming proficient with After Effects, including concepts such as layers, keyframe animation, and working with 3D. To help you get up and running with the program, the course begins with a project-based chapter on creating an animated graphic bumper. Next, explore the role layers play in compositions and find out how to add style to your projects using effects and graphic elements. Last, see how to build 3D objects with CINEMA 4D Lite, as well as stabilize footage, solve for 3D cameras, and paint in graphics with the Reverse Stabilization feature.
There's nothing more frustrating than working with footage that's been interpreted improperly. To show you what I mean, I'm going to load up a RAM preview by pressing 0 on my number pad. So as you can see, it's a three-second animation, and we just have a mask that's revealing these swooshy lines. Now, I'm going to stop playback, here, for a second by pressing the space bar. While that looks pretty cool, I think we could definitely step it up a little bit by importing some graphics. Now, I've already rendered a graphic out of Cinema 4D, as an image sequence.
I did this because it's common for 3D designers to deliver rendered image sequences, that way you don't have to worry about codecs, or whether or not a system is Windows or Mac. Obviously if I created it myself, I could have used a Cinema 4D layer, but we're going to have a whole chapter with that later. So for now let's go ahead and import our graphic footage. If you open the Graphics folder just by double-clicking, we can go up to File>Import>Just File. So navigate in your Exercise files to your Footage folder to the Prerendered folder.
And in there you should see a folder for the Energized Render. Now I'm just going to click on the first image, which is this TIFF image. And we'll make sure that it's set up as a TIFF sequence. So it will import all of these, and create one self-contained file. When I click Open, it's automatically going to open this Interpret Footage box. Now, it's unable to figure out what kind of alpha channel we're using. Now I know I rendered this with a straight alpha channel. But I'm going to going to go ahead and import it with Premultiplied and click OK just so you can see exactly what happens. Now let's drag our sequence down into the Timeline. You want to place it just below the Adjustment layer, and I'm already noticing one thing.
First thing, the sequence is too short. So let's do some investigating and see if we can figure out what's going on. If you right-click in the project panel on the energized sequence, go ahead and right-click or Ctrl+click and go to Interpret footage, you want to choose Main. Under Main, notice assume this framerate 30 was set up. Well, my comp and my render was actually at 23.976. So, let's change that to 23.976. And I'll press Enter on my keyboard to select. Now you notice it's three seconds in one frame. And I can change the out point just by hovering over the right side of the layer, and dragging it out to the end of the comp. Now we can see our text.
And if I scroll in so my magnification's at 100%, you can see I've got some issues. Can you guys see the strange colors that are appearing in the jaggedness on the edges? Let me zoom in a little bit more. Just to see if we can accentuate it. See those highlights right there? That's an improper interpretation of an alpha channel. I can see the white jagged edges around this r as well. So, I'm going to go back by right-clicking on the Footage>Interpret Footage>Main.
You could also press Shift+Cmd+G or Shift+Ctrl+G. Now we've already changed the frame rate. So lets go up to the top options for Alpha Channel. Lets choose Straight, and then go ahead and click Enter on our keyboard to accept it. Now, even though I'm in at 200%, look at the difference. I'm just going to undo that. See, and then redo. Now, if you really want to see how it's going to look, go back to 100% magnification and we can undo and then redo.
So when it comes to interpreting footage, especially when you're dealing with image sequences, it's very important to pay attention as to whether or not an alpha channel is straight or premultiplied, and of course, you want to make sure to match your frame rates.
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