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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®.
There are times where that Cross Dissolve option comes in really handy, mainly if your sources do not have the same size or shape or otherwise have partial transparency or complex alpha channels. I'll open up this next comp, 03b- Sequence - Alpha, and look at these sources. I'll solo one at a time. I've got an old-fashioned cell phone, a microscope, an old-fashioned computer monitor. You can tell these are old models, huh? How quickly technology changes! And a wireframe wheel.
They each have complex alphas so they don't completely obscure one another when they are all turned on top of each other. If I were to select all of them, right-click, go to Keyframe Assistant > Sequence Layers, Overlap 1 second and say Dissolve Front Layer, the same thing I did for the Full Frame videos, you will see my problem. I'll type U to see my keyframes. As the phone starts to fade out, the layer underneath the microscope immediately pops on at full opacity, which is very distracting, and as this starts to fade out, the other layer pops on at full opacity underneath.
There are occasions where you might want sudden pops in your animation like that, but if you're trying to get a nice gentle cross-fade this is not at all what you want. So I am going to undo. They are all still selected. Right click, Keyframe > Sequence. For things that do not completely obscure each other, definitely use Cross Dissolve Front and Back Layers. Click OK. Now see, I have Opacity keyframes for one that fades up while the other is fading down, and now you'll see I have a much gentler transition between these layers with complex or mismatched alpha channels.
By the way, again, underneath, it has Opacity keyframes as well. I'll close this up a little bit so you can see. There we go. So that's where the other option comes in handy.
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