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In this installment of After Effects Apprentice, Chris Meyer focuses on ways to edit and enhance layers in After Effects. Through a series of Quizzler challenges and Idea Corner examples, Chris shares alternative ways to employ modes, sequencing, and adjustment layers, while special sidebar movies cover the subjects of creating seamless loops, animating effects points, understanding pixel aspect ratios, and employing Brainstorm to explore the variety of different looks that effects can create. The course also covers tricks for enhancing boring footage and tips for converting scans into moving sequences. Exercise files are included with the course.
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 Online Training Library®.
You can also trim source material before you add it to a composition. Again, that's another concept that editors may be more familiar with. I am going to click to my Timeline by deleting one of my layers and re-trim it so I see a little more source material here and here and use that as the starting point. Let's say I decide that I would like to insert another clip right at this point in my overall composition where this plane is touching down. To do that, I'll go to my Project panel which holds my source materials, and in the Exercise Files that came with this project I'll twirl open Sources, pick the Clock+Skyline movie and in After Effects CS5 I will double-click it to open it up in its Footage panel, which I am going to go to dock in the same frame as the Comp and Layer panels.
By the way, in After Effects CS4 or earlier double-clicking a QuickTime mov would open it up. In a simplified QuickTime Player, if you still want that behavior, if you still want to see the source inside QuickTime, now as of CS5 you need to hold down Option or Alt when you double-click it. I like this better because double-clicking just gets me right into my Footage panel. While I am in the Footage panel I am looking at the source before it is being used in a composition. I am going to go ahead and drag my time indicator to pick where I want to send my in point to be.
Maybe right at the top of 9 o'clock there, trim my in point to start there, decide where I want it to be out, maybe this next hour which looks to be around 11 o'clock, trim my out point there. Now, I have some choices. My target is my currently forward composition and I can do one of two things. I can do an overlay edit or a ripple insert edit. If I do an overlay edit, I will add this source to the composition pre-trimmed the way I had in Footage panel, beginning at the current time indicator.
So just as that plane touches down I cut to my clock and go back to the plane. I am going to undo, go back to my Footage panel. An alternative is to instead do a ripple insert edit. That says put this new source at the Current Time Indicator but split any layers at the Current Time Indicator and move all later layers back later in time by the duration of this new source. I'll click the button and you'll see down here now I've added my new source but I've split this Jet Landing layer, moved that new segment as well as the Cityscape later in time.
So now my edit goes plane is about to touch down, I switch to the clock and I switch back to that plane just as it did touch down. So you can either overlay without moving anyone else, or ripple insert where you do move other layers later in time. Again, this is probably a concept that editors would be very comfortable with. So we've covered trimming layers in the Timeline panel, the Layer panel, and [00:03:02.20 the Footage panel. But there is one more editing operation I want to show you in the next movie, and that's slip editing layers.
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