Got problems using Adobe After Effects? Exported files too large, Expressions not working, mixing shapes and makes, modes/switches, selecting previews for layers vs. comps - Surfaced Studio's Tobias Gleissenberger shows you fast fixes for these and more!
Got problems using Adobe After Effects? In this video I will discuss some of the common problems and mistakes with Adobe After effects and how to fix them!
MISTAKE 1: Mode / Switches Buttons
A lot of people have trouble locating the 'Blend Mode', 'Track Matte' or 'Parent' column in their layer window. After Effects includes 2 sets of columns that you can toggle between using the Toggle Mode/Switches button. You can also customise which columns you see.
MISTAKE 2: Creating Shapes instead of Masks
If you try to create a mask and you do not have the layer selected that you want to apply the mask to, Adobe After Effects will create a new shape layer instead. Make sure to ALWAYS select the layer first and then apply a mastk.
MISTAKE 3: Layer Preview
If you accidentally double clicked onto any layer in your timeline you will be taken into an independent preview panel for the current layer. This preview window will only show the contents of the selected layer and you may wonder where all your other layers went. At the top of the preview window in Adobe After Effects you will find additional panels, the one on the left is the one for your entire composition.
MISTAKE 4: Masking and Effects
Adobe After Effects always applies masks before it applies effects onto each layer. This will cause effects to be rendered over the entire layer, unconstraint by the masks. If you want to mask out a generating effect (e.g. lightning) you need to either pre-compose the effect and then apply your masks or use a track matte.
MISTAKE 5: Expressions are Case Sensitive
Expressions in Adobe After Effects are CaSe SenSiTiVe! This means 'wiggle(10, 5)' is not the same as 'Wiggle(10, 5)'. The former will work and the latter will not. Remember to always use the correct case when typing any sort of expressions.
MISTAKE 6: Huge Video File on Export
When you render out your video from Adobe After Effects make sure you use a SENSIBLE video format and codec. Most people end up using the default (AVI, Uncompressed), which results in humongous files! It pays to understand the different options and choose the best format/codec for your situation. I personally like to use QuickTime format compressed with the H264 codec at around 70% quality.
Tobias Gleissenberger from Melbourne, Australia got hooked onto film making and visual effects with the rise of YouTube. After watching way too many videos from Freddie Wong, Final Cut King and Video Copilot, he realised that creating impressive VFX was now well within the reach of the indie filmmaker.
Unable to find videos that were both educational AND entertaining, he started to create his own style of 'edutainment' tutorials online. He enjoys sharing his enthusiasm and passion for filmmaking and visual effects with anyone who is willing to put up with his 'special' type of humour.
In part three of his series on Adobe After Effects Content Aware Fill, filmmaker and After Effects artist Cody Pyper takes his deepest dive yet! Following requests from viewers in the series so far, Cody takes a closer look at how Adobe Photoshop can help you remove unwanted objects from your video footage in After Effects.
Join filmmaker and After Effects artist Cody Pyper for a deep dive into how to get the absolute best results using the Content-Aware Fill tool in After Effects. Locked-down shots with simple backgrounds are one thing, but Cody shows the details of how to get fantastic results with complicated backgrounds and a moving camera using reference frames.
You're going to be blown away by how you can power up your After Effects workflow with reverse stabilizing your footage! By separating your tracking from your compositing, you can focus on each step, and in addition, overcome the render order complexities when match moving elements and effects on a moving shot.
There’s a new artificial intelligence-powered feature in Adobe After Effects called Content-Aware Fill that allows you to remove anything from your shots fairly easily! It's powerful, but if you’ve tried it you know that it doesn’t always work perfectly. So what do you do when it doesn’t work as well as you'd hoped? Filmmaker Cody Pyper is here to show what to try next!
Join panelists Andrew Kramer of Video Copilot, Jayse Hansen, and Mary Poplin of Boris FX, along with moderator, Victoria Nece of Adobe, as they discuss the world of visual effects from an artist’s perspective.
How do you add SCARS, TATTOOS or DIGITAL MAKEUP to a person's face? Learn how to use Mocha Pro's planar tracker and the Mesh Warp tool to insert a flat image/video on a (non flat) human face! Join VFX guru Tobias G from Surfaced Studio for a closer look!
The first challenge to understanding the nature of brightness in compositing starts with remembering that we're not actually seeing color at all, but rather something of an illusion that appears to us as color! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 5 of the best look behind the technology of compositing that you've ever seen, as he takes a look at the math behind brightness, and how to apply that to the compositing toolsets in your favorite editing, compositing, and color grading applications.
A Motion Graphics Template, referred to as a MOGRT, is an animated sequence that is self-contained and can be used in Adobe Premiere Pro, Adobe Premiere Rush and Adobe After Effects, combining graphics, text, audio and video files, as well as vector or still images (including logos), to create a still or animation that can then be customized by the MOGRT user. The result is a dynamic creative tool that provides design freedom and is consistent to its users across apps and devices. Reuse, share, and even sell them!
When most people hear the words "alpha channels", they think "transparency", but that's not exactly accurate. The truth is more complex, and a quite bit more interesting! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 4 of the best look behind the technology of compositing that you've ever seen, packed with practical advice for applying the secrets of alpha channels that's simply not possible before understanding these underlying principles. No matter which applications you're using for editing, compositing, or visual effects, this one is a must-see!