A so - foretell “ dot upgrade ” of a major package product like Adobe After effect may imply that it ’s not meaning enough for you to jump off on board until the next full version is released . If you retrieve that , you are dreadfully wrong . After Effects CS5.5 boasts enough major new features and productivity enhancements to rival any full version software outlet .
Many of its new feature and tools bring After upshot up to engagement with the demand of HD video DSLR post - production workflows . And for the first meter , you could keep your project as a previous ( CS5 ) version for compatibility with node and colleagues who have not upgrade .
Video production enhancements
One of After Effects CS5.5 ’s most high - profile new features is the Warp Stabilizer , an effect that work to steady precarious footage . What seems like magic is actually some telling technology that analyses figure in both directions while processing in the background , allowing you to continue do work . The core do work outstanding on handheld video that you want to give the appearance of being shot on a tripod or on a unruffled dolly or Steadycam rig . It even has built - in crystalline lens distortion / aberration chastening .
Accessing the fresh lineament is dim-witted : pick out the footage layer in your comp ; launch the cross panel ; and click the Stabilize button to begin processing .
miss from After Effects CS5.5 ( but present in previous version ) is the ability to select a point in the frame to stabilize around . As an automated process , the new Warp Stabilizer does not give you control over the ordered series or rotation from pick out points .
The new Warp Stabilizer processes in the background while you work on other tasks.
While I overleap the power to set stabilization pointedness at first , I apace forgot about it once I dig into the parameters of the Warp Stabilizer burden . Yes , that ’s right — the Warp Stabilizer is an effect , which means you could turn it on or off just like any other upshot on a footage layer .
The new Warp Stabilizer cognitive process in the background knowledge while you work on other labor .
The Warp Stabilizer can be set to automatically crop your stabilized footage .
The Warp Stabilizer can be set to automatically crop your stabilized footage.
stabilisation also ensue in some automatic cropping of your footage by default , as would be expected , and it does save the step of having to rescale and manually crop your layer . But you may also take the Stabilize , Synthesize Edges selection , in which the effect will attempt to apply image data from previous and subsequent frame to meet in the blanks around the edges that would normally come out with the old Stabilize lineament .
Stabilized shots can also be locked - down and the Warp Stabilizer can try out to create the extended edges for you .
The warp part comes into play when essay to compensate for lens aberration and foreground aim bm , which can make even a stabilise shot look odd . The Subspace Warp really tackle this trouble well , which is bang-up for miserable - quality cameras and all-encompassing - slant lenses .
Stabilized shots can also be locked-down and the Warp Stabilizer can try to create the extended edges for you.
Another feature that will give the Indie filmmaker a lot of post - production Depth of Field ( DOF ) controller is the Camera Lens Blur essence . This force replace the previous Lens Blur essence and also allows you to use a Blur Map to verify the DOF . you’re able to utilise the Roto Brush dick ( introduced in After Effects CS5 ) to pick out your foreground look-alike and produce a matte . Then you’re able to apply the Camera Lens Blur to your shot to produce a simulated rack - focusing effect . change the shape of your simulated Iris can create some beautiful in - lens effects on the high spot in your footage as well as realistic bokeh .
Imported footage now includes source timecode , which is super important for editor and VFX groups where people require to divvy up footage Indian file datum and keep everything in sync . The source timecode datum is displayed in the project panel and allow for you to nail specific bod , or to look for and sort your footage file in a project . you may also use the Timecode effect to diagrammatically display the timecode in compositions .
3D jumps in your lap
Stereo 3D television camera rig ( paired tv camera used to create stereographic three-D animations ) are literally a pawl by in After Effects CS5.5 . This is n’t just an enhancement of the 3D Glasses plug - in but a dependable 3D twinned - television camera cheat that generates two-channel pairs . you’re able to do your work onscreen with your red / blue glasses and export the left / right heart picture show for a professional redaction summons .
Create true Stereo 3D television camera trailer truck with one mere step .
Stereo 3D camera rigs give three Modern comp and two new camera .
Create true Stereo 3D camera rigs with one simple step.
When selecting the Create Stereo 3D Rig option from the Camera stratum in your 3D composition , it will generate three new comps and two new cameras for you automatically . And since it ’s face - driven , you could still make any changes you require in your original 3D comprehensive examination ’s tv camera , ignitor , and objects , and everything will remain in alignment in your stereo comprehensive examination .
you could control the convergence of the cameras with the unexampled enhanced 3D Glasses effect and even animate it over fourth dimension . This is helpful for hold the stereo window when doing utmost zooms or moving objects in the frame .
Adjusting stereo convergence with 3D Glasses consequence — before .
Stereo 3D camera rigs generate three new comps and two new cameras.
adapt stereo convergence with 3D Glasses effect — after .
After Effects CS5.5 ’s Light Faloff option allow better controller of light in 3D typography . Just like in the material human beings , not all light is a warm , constant beam that travel indefinitely and land on everything in its path . Light falloff can be adjusted on any lighting ( except ambient ) so dismount your scene now has a much richer and realistic result .
One affair I ’ve notice with the Stereo 3D Rig option is that all the lights and shadow seem to be lost in the concluding stereoscopic photograph comp . However a workaround is to copy and glue the lights from your original 3D comprehensive to both the left and right eye tv camera comprehensive examination so your last stereo comprehensive examination has the correct kindling and shadows . Hopefully Adobe will automatically include the lights to move along with the camera in succeeding versions .
Adjusting stereo convergence with 3D Glasses effect—before.
Plays well with others
Although After Effects CS5.5 is not completely backward - compatible , it is capable to save a transcript of your project as an After Effects CS5 project filing cabinet . you’re able to now partake in your labor with other workfellow or clients who have n’t upgraded yet .
And while the effects ( such as the Warp Stabilizer ) will be disabled in After Effects CS5 , the data is still retained . This will permit you to unfold a project qualify in After Effects CS5 and the upshot will still work in CS5.5 . This is a great benefit for workgroups and teams working on multiple workstations that are n’t all update .
Improved compatibility with today ’s popular pro file data format makes the work flow for editors and VFX artists exist in harmony — with the ability to export altogether digital video from RED footage in CinemaDNG and XDCAM HD format .
Adjusting stereo convergence with 3D Glasses effect—after.
Other enhancements under the toughie make After Effects CS5.5 work more expeditiously , with safe rendering and improved disk squirrel away . raise search and sorting role within large project help you good organize your media and comps .
Bottom line
I ’m really proud of that Adobe did n’t prove to wedge out another full version of After Effects CS5.5 on a step on it schedule , as the sweetening in this pane climb are important , as well as very solid and static . After Effects CS5.5 is a must - have for HD DSLR shooters and editors who have late switched to Premiere Pro CS5.5 , if only for the Warp Stabilizer on their bridge player - held shots .
[ Jeff Foster has write and contributed to several book and magazines , and has been producing accolade - winning motion graphics , photography , and creative design for major corporations , television , and film for more than 20 years . ]
Note : With the release of Lion , Adobe posted a technical school noteoutlining some issues user may encounter with some of its Creative Suite software . After event is not mentioned in this text file . However , be certain to check thetech noteon Adobe ’s websitefor update info on how Adobe Creative Suite products interact with Lion .
