after effects use Ellipse tool to create a mask shape

after effects use Ellipse tool to create a mask shape 

Masks are used in After Effects to hide parts of your video in such a way that ... could use to create the mask, such as the "Pen" tool or any of the shape tools. For example, you could select the "Ellipse" tool and draw an ellipse on the screen.

01 Open After Effects and create a new composition (Cmd/Ctrl+N). Choose any settings you're comfortable with – I've used HDTV 1080 25 with a duration of 4 seconds. Next select the Pen tool and draw out a shape. In this case I opted for some typography. Alternatively you can import shapes from Illustrator, or take the easy route and just use the Text tool.
02 Once you've finished drawing your shapes or typography, make them into a 3D layer by clicking the empty boxes underneath the Cube icon to enable 3D. Now bring up the composition settings (Cmd/Ctrl+k). Under the Advanced tab you'll see a drop-down menu. Change the renderer from Classic 3D to Ray-traced 3D. Click the Options button to bring up the quality settings. This is where render times can really stack up. I'd recommend working with low quality settings (Ray-tracing Quality: 4, Anti-aliasing Filter: Box) but changing them for higher settings when it comes to your final render.
03 Now go back to your composition. Under your shape layers settings you will notice a new heading called Geometry Options – it's here that we can extrude shapes. Click Extrusion Depth and set it to around 200.
04 If you look at your shape's extrusion, you'll notice it just looks like a black solid without much definition. That's because we need to add a light into the scene. To do this, go to Layer>New>Light. Remember though, more lights mean longer render times. In the Light Settings panel, choose your settings from the various options – I've gone for a Spot light type. Make sure you check the Cast Shadows tick box too, otherwise your shapes won't have any shadow. You can alter the Shadow Diffusion value to change the sharpness of the shadows.

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tutorial after effects Slow-mo with 60fps footage properly

tutorial after effects Slow-mo with 60fps footage properly

To get the "super slow motion", after I filmed at 60fps, I through it into the program "After Effects". I used an effect that comes with the program called "Time Warp". This allowed me to make the 60fps, to 1000fps. The way this works is the computer processes/adds frames in between the frames that are already in existence. It took several days for the computer to process the clips into the super slow motion that appears as well, so it does take a lot out of the computer, as far as processing goes. Another similar program that does something similar to this slow motion effect, is a program called "Twixtor". It's another great program that is very similar, however you have to buy it as a separate plugin, and it is a little expensive, but if you do a lot of slow motion, it's totally worth it :)
The concept and the acting was cheesy and silly, but creating this video was 100% pure fun.
I decided to shoot the whole sequence in a 720P 60 fps mode, with the intent of slowing some parts down for true slow motion in the 24 fps edit line. I was a little concerned about the lack of sharpness compared to 1080p, but GH2 holds up very well — much better than T2i.
I inserted "Bill + Kathy" (dropzone and the airplane owners) at 00:13 in After Effects, for a little gag the locals might appreciate. Motion tracking with Mocha worked well, as usual. Photoshopped decal slipped a little during tracking, but you really had to look frame by frame.
I forgot about the 180 shuttle rule at 00:46, shooting it in 1/50 by accident instead of 1/125, resulting in undesirable motion artifact for some indoor shots. Freefall footage, however, shot in 1/200 shuttle speed, looked pretty good in slow motion, with the footage conformed from 60 to 24 fps.
For color grading, Magic Bullet Mojo was used for ground footage. It turned out a little dark, so lightened it a little using Colorista. For skydiving footage, Colorista was used, bringing up the shadows and giving a slight greenish tint. I added a little yellow to the midrange and a bit of red to lightend hilights.
As I use the GH2 more, I really could use for shallow DOF. I need to get a faster lens. For technical aspect of achieving slow motion

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combine multiple videos into a single video in after effects

combine multiple videos into a single video in after effects

Combining two Adobe After Effects compositions into a single composition is helpful when you want to re-use a composition multiple times. Additionally, it is useful for applying complex changes to a group of compositions at once. Nesting is the process through which you combine compositions into a single composition, known as a nested composition or a precomposition. The entire set of compositions that are related to each other through nesting are known as the composition network.
Since switching to Premiere Pro, my editing workflow has been to lock picture in Premiere and then finish in After Effects. To date I've been using a workflow similar to the one I'd use when editing in Final Cut Pro, which was to import a final sequence into After Effects (either as an XML or by using Premiere Pro as an intermediary), and apply color correction, titling, and other effects in AE. While this approach gives a very high quality output, a problem rears its head if you want to make changes to the edit after "locking" picture. So what's the best workflow between Premiere and After Effects?

Once I change the coloring and add the final titles and effects, I find my picture lock often becomes unlocked. But now if I make changes to my edit in Premiere, they aren't reflected in AE, and so I find myself making edits in AE, which is far from ideal given the program's lack of real-time editing features (and editing tools like trim, slide, etc). And then if I need to revisit the edit in Premiere, I in fact have a newer edit in AE than I do in PPro. It's a version control nightmare. However, it's hard to beat from a price:quality perspective — this is the reason this workflow is spotlighted in Stu Maschwitz's DV Rebel's Guide. In theory, Adobe has designed Dynamic Link to solve this problem. But does it?

As far as I can tell, not really. Dynamic Link gives you two options, both of which are nice to have, but neither of which accomplishes what I'm looking for. The two options are: one, you can create an After Effects composition within Premiere Pro, and have that comp dynamically update in your Premiere sequence when you make changes in AE. The second option is to use Dynamic Link to open a Premiere project in After Effects, at which point you can import sequences and have them show up in AE — as a single object. There's no way to drill down to the individual clips to make changes unless you import a Premiere sequence, at which point I'm back in the same boat I was in before when using Final Cut (though it's worth noting that Premiere's integration is far more advanced, as most effects and transitions carry over flawlessly). While I'm happy to have the ability to open a Premiere Pro sequence in After Effects, one can't but wonder if the two programs could be combined in order to prevent this non-ideal workflow. As it is, once you go AE, it's hard to go back. At least, this is my understanding — am I missing something? Is all of this just confusing? Please share your experiences in the comments.

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Replacing footage in Premiere with an AE composition for slow-mo

Replacing footage in Premiere with an AE composition for slow-mo

Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.

Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.

To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.

Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.

Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.

1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.

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make pixelated slow motion effects in Adobe after

make pixelated slow motion effects in Adobe after

Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.

Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.

To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.

Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.

Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.

1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.

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how loop a precomp in after effects

Un-PreCompose is a plug-in for After Effects that allows you to select a pre-comp (nested composition) and extract all of its layers into the parent composition while maintaining each layers effects and other properties. You are given various options for maintaining or deleting properties from the pre-comp and the pre- comp itself.
Using Un-PreCompose?
Using Un-PreCompose is simple. Once it is installed, it will show up at the bottom of the 'Layer' menu. If you do not have a pre-comp (nested composition) selected, Un-PreCompose will be greyed out and disabled. To use Un-PreCompose, just select a pre-comp in the timeline panel, then go to Layer>Un- PreCompose
Un-PreCompose Options
Un-PreComposed Layer Prefix
This option will help you see which layers came from the pre-comp. Whatever you put into this textbox will be added to the beginning of each layer that is un-precomposed. If no prefix is desired, just leave the box empty.
Copy Pre-Comp attributes to layers (Note on this option in the next section)
If you have key frames, effects, etc. applied to your pre-comp and want those attribute to be maintained, select this option. Each layer inside will then receive the effects from its parent and will be made a child of a null object that contains the transform attributes. The null object will have the name ||CONTROLLER||.
Discard Pre-Comp Attributes
This option will get rid of any attributes that are applied to your pre-comp. Layers inside the pre-comp will maintain their current positions and attributes. You may notice a change in position if your pre- comp is a different resolution then its parent composition.
Delete Source After Un-PreComposing
If this option is selected, once the pre-comp has been un-precomposed, it will be deleted from the project. This option will not be available if the pre-comp is being used elsewhere in the project. This option will be disabled if the 'Keep Pre-Comp in Composition' option is selected.
Keep Pre-Comp in Composition
If this option is selected, the pre-comp will remain in the parent composition after the Un-PreCompose has taken place. The pre-comp will be turned off, but still be a part of the composition. This option will be disabled if the 'Delete Source After Un-PreComposing' option is checked.
Notes on 'Copy Pre-Comp Attributes to Layers'
1) Masks are NOT copied
For the moment, masks applied to your pre-comp will not be copied over to the extracted layers. This may change in the future, so keep a look out for any updates to the plug-in
2) Particle Layers
If your pre-comp is a 3D layer that contains particle layers, you may get some issues on running the plug-in. Particle layers are usually meant to be applied to 2D layers, but if the parent comp is 3D, every layer inside will be changed to a 3D layer, so you might get some strange results.
3) Creation of Controller Layer
For now, the, any transform attributes of the pre-comp are applied to the null object, which then becomes the parent of each extracted layer. If a layer already has a parent, that layer will not be affected.
General Notes
1. Parenting is maintained within the pre-comp, however if any layers are parented to the pre-comp, that connection will be broken.
2. If layers inside your pre-comp contain expressions that use random numbers, you may notice a slight change due to random numbers being based on the layer's index, which may be changed when running an Un-PreCompose.

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