http%3a%2f%2fwww.adobepress.com%2farticles%2findex_rss.asp%3fn%3df84a748f-fb44-44db-b494-f09e7bc582fbThe latest products for the Adobe Press-Articles > Adobe After Effectsen-ushttp://www.adobepress.com/articles/article.asp?p=2039925Learn how to precompose layers, create the track matte, and add motion blur in Adobe After Effects CC. May 15, 2013http://www.adobepress.com/articles/article.asp?p=1962482Too often, editors are afraid of using After Effects, because they don't aim for the more manageable and appropriate things you can do in AE. Mark Christiansen, author of <a href="http://www.peachpit.com/store/product.aspx?isbn=0321834593">Adobe After Effects CS6 Visual Effects and Compositing Studio Techniques</a>, shows how powerful After Effects can be when you use it to handle even commonplace tasks.Nov 1, 2012http://www.adobepress.com/articles/article.asp?p=1855820In this excerpt from <em>Adobe After Effects CS6 Classroom in a Book</em>, you will learn how to use the Warp Stabilizer to stabilize a handheld camera shot and to track one object to another in an image so that their motion is synchronized. Then you will use corner-pinning to track an object with perspective. Finally, you will explore some of the high-end digital effects available in After Effects CS6: a particle system generator and the Timewarp effect. Apr 23, 2012http://www.adobepress.com/articles/article.asp?p=1661081This excerpt from <a href="http://www.peachpit.com/title/0321704495">Adobe After Effects CS5 Classroom in a Book</a> shows you how to create and control basic 3D layers. Dec 10, 2010http://www.adobepress.com/articles/article.asp?p=1661083 This excerpt from <a href="http://www.peachpit.com/title/0321704495">Adobe After Effects CS5 Classroom in a Book</a> shows you how to add lights, effects, reflections, and other elements to a composition. In doing so, you’ll learn how to use additional 3D features available in Adobe After Effects. Dec 10, 2010http://www.adobepress.com/articles/article.asp?p=1661080This excerpt from <a href="http://www.peachpit.com/title/0321704495">Adobe After Effects CS5 Classroom in a Book</a> shows you how to use the new Roto Brush tool in After Effects CS5, which is much faster than conventional rotoscoping, and for movies with complex backgrounds, much easier than keying. Dec 10, 2010http://www.adobepress.com/articles/article.asp?p=1661078This excerpt from <a href="http://www.peachpit.com/title/0321704495">Adobe After Effects CS5 Classroom in a Book</a> shows you how to create a mask using the Pen tool, edit a mask, feather a mask edge, create a vignette, and more. Dec 10, 2010http://www.adobepress.com/articles/article.asp?p=1648576This chapter examines how image data flows through an After Effects project in close detail. It's full of the kind of information that will help you make the most of After Effects.Nov 10, 2010http://www.adobepress.com/articles/article.asp?p=1606905Mark Christiansen, author of <a href="http://www.peachpit.com/store/product.aspx?isbn=0321592018">Adobe After Effects CS4 Visual Effects and Compositing Studio Techniques</a>, points out his favorite changes in the latest version of the program.Jul 19, 2010http://www.adobepress.com/articles/article.asp?p=1597089Rob Birnholz and Ian Robinson, contributing authors to <a href="http://www.peachpit.com/store/product.aspx?isbn=0321719697"> Motion Graphics with Adobe Creative Suite 5 Studio Techniques</a>, take a break to discuss their top five favorite new features of Adobe After Effects CS5. Whether you use After Effects for hard-core compositing or you’re a designer looking to push your projects to the next level, there’s something new for everyone.Jun 15, 2010http://www.adobepress.com/articles/article.asp?p=1578507Deform pins are the main component of the Puppet effect. This excerpt from <em>Adobea&reg; After Effects&reg; CS5 Classroom in a Book</em> shows you how to add deform pins. Apr 17, 2010http://www.adobepress.com/articles/article.asp?p=1350894For a Flash user, the core principles of After Effects will seem similar. Elements are stacked from top to bottom in a timeline and then animated with keyframes. From there, the similarities pretty much end. Rich Harrington investigates the differences. Jun 18, 2009http://www.adobepress.com/articles/article.asp?p=1350895Flash baffles After Effects users as often as it makes them feel comfortable. This chapter from Rich Harrington introduces you to Flash’s interface and core animation techniques.Jun 17, 2009http://www.adobepress.com/articles/article.asp?p=1341003Transparency plays a key role in the success of animation and interactivity. By embedding transparency into graphic elements, you can composite together different elements created at different times, allowing for true flexibility.May 19, 2009http://www.adobepress.com/articles/article.asp?p=1316795This chapter examines how image data flows through an After Effects project in detail. That may not sound gripping until you realize how much your creativity is hampered by remaining ignorant of this stuff.Apr 9, 2009http://www.adobepress.com/articles/article.asp?p=1325651Learn the how to get started and the basic workflow of Adobe After Effects CS4, including how to create a project and import footage, create compositions and arrange layers, navigate the Adobe After Effects interface and more. Mar 2, 2009http://www.adobepress.com/articles/article.asp?p=1278847Are your matte edges crunchy, chewy, contrasty, solid, sizzling? Do these terms even mean anything to you? They will by the time Mark Christiansen finishes showing you how to work with After Effects CS3 color keying.Nov 19, 2008http://www.adobepress.com/articles/article.asp?p=1273352Pull, squash, stretch, and otherwise deform objects onscreen using the After Effect CS3 Puppet tools. Whether you're creating realistic animations, fantastic scenarios, or modern art, the Adobe Creative Team shows you how the Puppet tools can expand your creative freedom.Nov 14, 2008http://www.adobepress.com/articles/article.asp?p=1273353Animation is all about making changes over time to an object or image's position, opacity, scale, and other properties. In this step-by-step exercise, the Adobe Creative Team explores some of the fun possibilities for animating a Photoshop file in After Effects CS3.Nov 13, 2008http://www.adobepress.com/articles/article.asp?p=1273993Humans are so familiar with fire that we can tell when it looks wrong, even if we don't understand the physics of explosions and fireworks. By using Mark Christiansen's After Effects techniques, however, you can provide at the compositing stage what the filmmaker couldn't afford on set: realism.Nov 13, 2008http://www.adobepress.com/articles/article.asp?p=1273350Mark Christiansen's far-reaching article discusses multiple aspects of replicating a physical camera in After Effects, with the ultimate goal of matching, influencing, or changing the camera's perspective.Nov 13, 2008http://www.adobepress.com/articles/article.asp?p=1273852If you think of a color key as an edge matte surrounded by two holdout mattes (one for the core, one for the background), how do you combine these mattes in Keylight? Mark Christiansen explains.Nov 12, 2008http://www.adobepress.com/articles/article.asp?p=1276351Mark Christiansen demonstrates that color matching in After Effects is a skill that you can practice and refine, even if you have no feel for adjusting images - and even if you tend to think of yourself as colorblind.Nov 12, 2008http://www.adobepress.com/articles/article.asp?p=1273351Does the idea of keying conjure up images of a meteorologist on the evening news, or a shooting technique used in motion pictures? With After Effects, even the simplest, least-expensive project can take advantage of keying. The Adobe Creative Team takes us through a step-by-step example of this technique.Nov 12, 2008http://www.adobepress.com/articles/article.asp?p=1252172If you think of a color key as an edge matte surrounded by two holdout mattes (one for the core, one for the background), how do you combine these mattes in Keylight? Mark Christiansen explains.Oct 23, 2008