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via Dustin Sklavos
Adobe After results is the trade-common for desktop video publish-creation purposes, however does After consequences CS5 deliver enough new to the desk to justify an improve? We ruin it down in this evaluation.
For those uninitiated, Adobe’s After consequences is an immensely effective piece of utility that any budding video fanatic should still acquaint themselves with in a rush. while top of the line received many aspects from After consequences when it went professional (together with advanced keying and matte capabilities among many other video consequences), and you'll get a fit volume of grunt work performed in top-rated professional or last reduce pro, After effects is industry general for a cause.
It’s actually impossible to articulate every little thing After consequences CS5 can do. It’s advantageous for animation (a small note for a vast array of features), for cleaning up compositing and matte work, in-depth color-correction, and extra. chances are if you’re gazing television and you see loopy, glowing animation in commercials, as a minimum a few of it turned into wrung through After consequences.
I’ve additionally found After outcomes CS5 beneficial for my own work. I comfortably can’t have enough money to finance my filmmaking on some grand scale. So when i want a bunch of americans for a picture, or a scene to take region someplace that doesn’t exist, (see left) i will be able to shoot a number of americans on a blue monitor, matte out the blue, put a time-lapsed video of clouds relocating in the heritage, put each person together, and presto. Does it appear ultimate? No. however does it get the job done?
in addition, my ability with After results is relatively insignificant compared to what I’ve considered some americans do; render explosions, flames, lightning, and even have it seem halfway good. a friend of mine put collectively a complete lightsaber fight in After consequences and truthfully, the lightsabers look fairly rattling decent. So suffice to say, After consequences is marvelous, highly positive, and on the identical time in dire need of an replace.
When Adobe dropped CS4 and brought with it a sixty four-bit version of Photoshop, my massive query become…where’s their 64-bit video enhancing utility? It’s authentic the megapixel race keeps elevating the sheer measurement of uncooked photo files, however the leap from ordinary definition to excessive definition video has been nothing in need of devastating. It’s actual that lots of the video being edited on a laptop is compressed in some vogue, however right here’s the element: it has to be uncompressed at some point, too. You also deserve to healthy that video in memory along with the entire tweaks you’re doing with it.
In most excellent seasoned you may probably get away with just letting the program use the 2GB of RAM and contact it a day. many of the work you’re going to do there can be minor animation or color correction. but in something like After outcomes? gold standard professional permits you to play again your photos in real time, simplest gradually beginning to chop when your processor simply can’t address the weight. After effects doesn’t work that approach.
I harp continually in regards to the leap to 64-bit and how “omigosh brilliant” it is, however After effects CS5 is the first place you’re going to definitely think it. should you’re doing work in AE, you utilize what’s known as a “RAM preview.” The application renders out part of your composition (despite the fact a whole lot you’ve chosen) to RAM so that you can see it the way it will ultimately appear. This turned into high-quality for ordinary definition video, for the reason that an excellent fifteen or thirty seconds of as a way to slot in the 2GB of RAM a 32-bit application is going to limit you to.
excessive definition video brings the application to its knees. I’ve achieved composites in 1080p which have gotten maybe ten seconds of footage to fit into RAM tops. If any software in Adobe’s inventive Suite essential to go 64-bit, After outcomes did with a vengeance, and that’s going to be the big draw for CS5.
Adobe delivered a couple of extra points, usually involving tweaks in how it handles rudimentary 3D animation along with streamlining the common procedure of the usage of the utility. They’ve delivered extra help for tapeless editing for extra codecs, carrying on with the Adobe tradition of being in a position to edit very nearly anything else.
I’ll cut to the chase: After outcomes CS5 is value purchasing for the 64-bit executable on my own. in case you’ve ever used After effects, and you honestly don’t care about anything else that’s been added (and indeed, CS5 is in the main refinements outside of that), going sixty four-bit is going to be a tremendous boon for you. Hope you upgraded to 8GB of RAM on your laptop when it turned into more affordable (however in case you’re working off a computing device with simply two slots for RAM you had been probably screwed on rate to start with), as a result of After consequences will soak it up like a sponge. I remember seeing the 4GB I had when i was the usage of CS4 redline the rapid I clicked “render.” Now at least I don’t must look at various render any place close as often.
I’ve additionally found After consequences CS5 to be snappier general, and while I went from an Intel Core 2 Quad Q6600 at 3 GHz to an Intel Core 2 Quad Q9650 at three.6 GHz in the intervening period between principal compositions, testing CS5 has in spite of this proven a much more massive development in render times than can be attributed to the quicker processor.
I did try the one massive characteristic Adobe touts with CS5, the Roto Brush, which means that you can in reality colour out part of your photograph and the application mattes round it. It’s very specific, will take extra experimentation, and isn’t the sort of freakish witchcraft the content material-conscious Fill in Photoshop CS5 is, however appears like it has the talents to be an exceptionally valuable tool for handling frustrating matte work.
I’ve gone on without end about sixty four-bit for this evaluate, however there’s a fine explanation why. After consequences CS5 remains more often than not unchanged from CS4 other than offering enhanced performance and a just a little extra streamlined workflow. Being in a position to handle greater than 2GB of RAM makes a massive change in the program’s standard functionality and usefulness, even though. i think that by means of making that jump, it helped Adobe increase the application’s threading enormously, permitting it to greater take abilities of further processing cores. CS4 brought superb parallelization to the complete suite, providing near-linear improvements in efficiency with the addition of each core in most appropriate and After results, but the extra RAM afforded in CS5 really helps solidify these advancements.
in case you don’t use After results but are a budding video enthusiast, it’s value trying out. For After consequences CS4 users, After results CS5 is a need to-buy. It’s pricy, but if you’re spending that a lot you may are looking to max out the RAM for your simple laptop whilst you’re at it. You’re going to want it.
“Admittedly, when it become firstly rolled out in Photoshop CS5, content-aware Fill rarely labored as without problems or flawlessly as it perceived to in the company’s demos,” Liszewski writes. “but over time, and a couple of types of Photoshop, the device become sophisticated and more advantageous to the point the place, extra frequently than now not, its computerized corrections grew to become not possible to observe.”
“content material-conscious Fill tool for video should be purchasable for After consequences CC 2019 clients beginning today after a utility replace, and Adobe suggests it should be exceptionally positive for jobs like doing away with rigging or increase mics from pictures, erasing undesirable watermarks, or deleting an individual from a clip altogether,” Liszewski writes. “Don’t expect flawless effects correct away, however over time this will certainly turn into a magnificent, and probably controversial, device.”
examine more in the full article here.
MacDailyNews Take: false news is eyeing a potential field day.
Adobe has launched After effects CS5, a brand new version of its professional utility for movement photographs designers and visible results artists.
The software is now 64-bit native to take talents of the total reminiscence of the CPU, even when users are engaged on excessive-resolution projects.
a new Roto Brush tool, which works in a similar fashion to the short alternative tool in Photoshop, means that you can easily isolate foreground facets in complex scenes.
After consequences CS5 aspects native guide for the brand new AVC-Intra 50 and AVC-Intra one hundred codecs, as well as improved native guide for photos from purple cameras.
The new version also&#one hundred sixty;presents an auto-keyframe mode, supports customized colour seem to be-up tables, comprises an up-to-date version of artificial Aperture's color Finesse 3 LE colour correction tool, and now contains the Digieffects FreeForm plug-in.
(photograph Caption: the new Roto Brush lets you separate foreground facets from complex backgrounds in much less time than it will take using usual rotoscoping innovations.)
Mocha for After results CS5
After effects CS5 includes an upgraded edition of Mocha for After results, a planer monitoring gadget that ships in the box, as neatly because the Mocha shape plug-in, which permits you to use tracking information in new approaches.&#a hundred and sixty;the brand new Mocha free up also comprises the capacity to practice action tracking at hand-drawn masks.
covered for the primary time in After outcomes CS5 is the Mocha form plug-in, which lets you reproduction and paste dissimilar action-tracked masks from Mocha to any After effects layer, whereas conserving all their qualities. this is beneficial for shots that contain digital camera movements or moving objects that require overlaying.
Adobe After effects CS5 is $999 with an improve fee of $299. it's additionally accessible as part of the production top class and grasp collection.
Soundbooth CS5, an improve of the suite's audio editing program, offers improvements in multitrack modifying and an improved library of royalty-free sounds and sound outcomes.
Soundbooth CS5 points an more desirable workflow in multitrack edit mode, the place which you can combine and edit multitrack projects quicker and with extra handle. you can resize tracks to view complete multitrack initiatives without delay or zoom in on selected tracks. split, movement, and copy audio clips more comfortably with improved clip editing to improved align clips to selected elements in a scene, or movement clips between distinct tracks.
Soundbooth CS5 now offers entry to an improved useful resource important (an Adobe online carrier) panel, where more than 10,000 sound outcomes and more than a hundred thirty customizable Soundbooth rankings are available.
Soundbooth is $199, with an improve cost of $99. or not it's also purchasable as part of the creation top rate and master collection.
each After results CS5 and Soundbooth CS5 ship within 30 days.
This story, "After effects CS5 elements New Roto Brush" changed into at the start posted by way of Macworld.To touch upon this text and other PCWorld content, visit our fb web page or our Twitter feed.
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By Dustin Sklavos
Adobe After Effects is the industry-standard for desktop video post-production applications, but does After Effects CS5 bring enough new to the table to justify an upgrade? We break it down in this review.
For those uninitiated, Adobe’s After Effects is an immensely powerful piece of software that any budding video enthusiast should acquaint themselves with in a hurry. While Premiere acquired many features from After Effects when it went Pro (including superior keying and matte functions among many other video effects), and you can get a healthy amount of grunt work done in Premiere Pro or Final Cut Pro, After Effects is industry standard for a reason.
It’s honestly impossible to articulate everything After Effects CS5 can do. It’s useful for animation (a small word for a vast array of functions), for cleaning up compositing and matte work, in-depth color-correction, and more. Chances are when you’re watching television and you see crazy, glowing animation in commercials, at least some of it was wrung through After Effects.
I’ve also found After Effects CS5 invaluable for my own work. I simply can’t afford to finance my filmmaking on some grand scale. So when I need a bunch of people for an image, or a scene to take place somewhere that doesn’t exist, (see left) I can shoot a few people on a blue screen, matte out the blue, put a time-lapsed video of clouds moving in the background, put everyone together, and presto. Does it look perfect? No. But does it get the job done?
Moreover, my skill with After Effects is pretty insignificant compared to what I’ve seen some people do; render explosions, flames, lightning, and even have it look halfway decent. A friend of mine put together an entire lightsaber battle in After Effects and honestly, the lightsabers look pretty damn good. So suffice to say, After Effects is awesome, incredibly useful, and at the same time in dire need of an update.
When Adobe dropped CS4 and brought with it a 64-bit version of Photoshop, my big question was…where’s their 64-bit video editing software? It’s true the megapixel race keeps raising the sheer size of raw image files, but the jump from standard definition to high definition video has been nothing short of devastating. It’s true that most of the video being edited on a computer is compressed in some fashion, but here’s the thing: it has to be uncompressed at some point, too. You also need to fit that video in memory along with all the tweaks you’re doing with it.
In Premiere Pro you could probably get away with just letting the program use the 2GB of RAM and call it a day. Most of the work you’re going to do there will be minor animation or color correction. But in something like After Effects? Premiere Pro lets you play back your footage in real time, only gradually starting to chop when your processor just can’t handle the load. After Effects doesn’t work that way.
I harp constantly about the jump to 64-bit and how “omigosh amazing” it is, but After Effects CS5 is the first place you’re going to really feel it. When you’re doing work in AE, you utilize what’s called a “RAM preview.” The program renders out a part of your composition (however much you’ve selected) to RAM so that you can see it how it will finally look. This was great for standard definition video, since a good fifteen or thirty seconds of that will fit in the 2GB of RAM a 32-bit program is going to limit you to.
High definition video brings the program to its knees. I’ve done composites in 1080p that have gotten maybe ten seconds of footage to fit into RAM tops. If any program in Adobe’s Creative Suite needed to go 64-bit, After Effects did with a vengeance, and that’s going to be the big draw for CS5.
Adobe added a couple of extra features, mostly involving tweaks in how it handles rudimentary 3D animation along with streamlining the overall process of using the software. They’ve added additional support for tapeless editing for more formats, continuing the Adobe tradition of being able to edit virtually anything.
I’ll cut to the chase: After Effects CS5 is worth buying for the 64-bit executable alone. If you’ve ever used After Effects, and you honestly don’t care about anything else that’s been added (and indeed, CS5 is mostly refinements outside of that), going 64-bit is going to be a major boon for you. Hope you upgraded to 8GB of RAM in your workstation when it was cheaper (although if you’re working off a notebook with just two slots for RAM you were probably screwed on price to begin with), because After Effects will soak it up like a sponge. I remember seeing the 4GB I had when I was using CS4 redline the instant I clicked “render.” Now at least I don’t have to test render anywhere near as frequently.
I’ve also found After Effects CS5 to be snappier overall, and while I went from an Intel Core 2 Quad Q6600 at 3 GHz to an Intel Core 2 Quad Q9650 at 3.6 GHz in the intervening period between major compositions, testing CS5 has nonetheless shown a far more substantial improvement in render times than could be attributed to the faster processor.
I did try the one big feature Adobe touts with CS5, the Roto Brush, which allows you to basically color out a part of your image and the program mattes around it. It’s very particular, will take more experimentation, and isn’t the kind of freakish witchcraft the Content-Aware Fill in Photoshop CS5 is, but it looks like it has the potential to be an extremely useful tool for handling troublesome matte work.
I’ve gone on ceaselessly about 64-bit for this review, but there’s a good reason why. After Effects CS5 remains mostly unchanged from CS4 apart from offering improved performance and a slightly more streamlined workflow. Being able to address more than 2GB of RAM makes a massive difference in the program’s overall functionality and usability, though. I suspect that by making that jump, it helped Adobe improve the program’s threading tremendously, allowing it to better take advantage of additional processing cores. CS4 brought excellent parallelization to the entire suite, offering near-linear improvements in performance with the addition of each core in Premiere and After Effects, but the extra RAM afforded in CS5 really helps solidify those improvements.
If you don’t use After Effects but are a budding video enthusiast, it’s worth trying out. For After Effects CS4 users, After Effects CS5 is a must-buy. It’s pricy, but if you’re spending that much you may want to max out the RAM in your primary workstation while you’re at it. You’re going to need it.
In 2010, Adobe introduced one of Photoshop’s first true ‘smart’ features: A tool called Content-Aware Fill that could intelligently remove and replace objects in a scene.
Today, Adobe is now bringing a version of that tool to its compositing software, After Effects, that does essentially the same thing but on moving video clips, which is far more challenging.
One of the many reasons Adobe’s photography and video software has remained so dominant over the years is the company’s heavy investment in research and development, and the fact that many of the seemingly magical automated tools born from its R&D efforts actually make their way into its software.
Admittedly, when it was initially rolled out in Photoshop CS5, Content-Aware Fill rarely worked as effortlessly or flawlessly as it appeared to in the company’s demos. But over time, and several versions of Photoshop, the tool was refined and improved to the point where, more often than not, its automated corrections became impossible to detect.
Adobe is now bringing Content-Aware Fill to After Effects, its digital compositing software that can be used for everything from creating animated graphics, to integrating CG animations with live footage, to replacing green screens. But intelligently erasing and replacing a portion of a static image is one thing; doing it on a video, across multiple frames of changing content, is an entirely other challenge.
Adobe says it’s made possible by not only the improvements made to the original Photoshop version of the tool over the years, but also by Adobe’s Sensei platform; the company’s AI and machine learning framework introduced a few years ago that now powers many of the company’s apps.
Photoshop CS5's Content-Aware Fill tool handled all of the image processing on the local machine—which limited its capabilities—but the latest version of After Effects Creative Cloud should be able to pass at least some of the image processing workload to the AI in the cloud, which is ever-improving.
Removing an object from a video won’t be as straightforward a process as it is for a photo. Users will have to create masks that define the region of a video that’s to be erased, either using hand-animated or painted masks, or After Effects’ automated tracking tools. It will be even more challenging for the software, as regions of a frame it uses to fill in holes after an object is removed might not actually still be in frame a few seconds later.
So for optimal results, AE also allows a user to point the software to specific areas of a frame that will be best suited as filler for holes, or users can create reference still frames in Photoshop, that AE will use to guide its own edits.
Content-Aware Fill tool for video will be available for After Effects CC 2019 users starting today after a software update, and Adobe suggests it will be especially useful for jobs like removing rigging or boom mics from shots, erasing unwanted watermarks, or deleting a person from a clip altogether.
Don’t expect flawless results right away, but over time this will undoubtedly become a powerful, and potentially controversial, tool. If you decide to run for office in 2020, there’s probably a few karaoke videos you wouldn’t mind disappearing from.
After Effects CS5 is Adobe's powerful motion graphics software for designers and visual effects artists. The program is one of three in the new version of Adobe's Creative Suite to go 64-bit native, taking full advantage of the multi-core processors and expanded RAM capacity of the newest Macs.
The new version introduces some high-end features: The Roto Brush tool lets you easily isolate foreground elements in complex scenes. It also features native support for the new AVC-Intra 50 and AVC-Intra 100 codecs, as well as expanded native support for RED camera footage.
It also offers an auto-keyframe mode, supports custom color look-up tables, includes an updated version of Synthetic Aperture's Color Finesse 3 LE color correction tool, and now includes the Digieffects FreeForm plug-in.
64-bit performance boost
The most significant feature of this update is the 64-bit native performance boost Adobe has given After Effects CS5. Adobe engineers have touted 20 to 40 percent shorter render times on single-core machines and 30 to 50 percent shorter render times on multi-core processors.
My personal comparisons for RAM previews on similar projects, on the same MacBook Pro (a 2.6GHz Intel Core Duo with 4GB of RAM) gave me an average of about 35 percent faster RAM previews and project rendering time. RAM usage is optimized to give you longer RAM Previews too. This is huge news for post-production and motion graphics pros, especially if you have a loaded multi-core workstation.
One caveat: you must be running OS X 10.5.7 for After Effects CS5 to install. And you will need to upgrade all of your third-party plug-ins to 64-bit versions, which will most assuredly cost you extra--and that's assuming the plug-in manufacturer has a 64-bit version available.
After Effects is not backward compatible with older versions, so it's a good idea to keep your copy of After Effects CS4 installed so you can work on your existing projects and access your 32-bit plug-ins.
AVC-Intra and RED compatibility
As the popularity of tapeless HD digital video workflows increases, so do the demands for post-production to accommodate these new formats with a minimal amount of pre-processing and data wrangling. After Effects CS5 can now read native AVC-Intra files from Panasonic's P2 cards, and raw R3D (RED Cam) footage. With improved color management and the included plug-ins like Synthetic Aperture's Color Finesse 3 and Apply Color LUT, it's easy to add these native formats to your production directly from the source.
Roto Brush tool and Refine Matte effect
The most publicized new feature in After Effects CS5 is the Roto Brush tool. At first glance, it appears similar in function to the old Photoshop Extract plug-in, but it works much differently, since it spans several frames of footage at a time. You start by selecting the foreground object with broad strokes of the green brush, and then reduce the brush size to pick up stray elements such as edge highlights, hair, ears, and so forth. Then use the red brush to identify the background.
When you first apply the Roto Brush tool to a footage sequence, it creates a keyframe point and then looks for edges and changes across several frames forward and backward from the point at which you apply it. You can make adjustments on each frame as needed, but mastering this workflow takes time and practice. I was able to use the Roto Brush tool on about 20 shots for a commercial in which I needed to do color grading on the background. After working on the first few shots, I was continuing to perfect my process.
The new Refine Matte effect, which is also applied when you use the Roto Brush tool, can be used with any matte layer as a standalone effect. It affects edge smoothness, feathering, chatter, and even motion blur--which is critical when matting people and objects when they're moving. The only downside is that the Roto Brush is looking at pixels in a sequence, instead of drawing vectors that can easily be edited along the timeline. A simple change on one frame may affect 10 to 15 frames after it, so it's best to create short sections of about 15 frames instead of a full footage sequence from the beginning. Also, don't expect the same quality matte results that you would get from shooting your subject against a green screen.
Depending on your footage, if you have a busy background or the lighting is uneven and dark, the Roto Brush tool has a hard time distinguishing between foreground and background. Locked-off shots with a still background and contrasting colors and lighting seem to work best. This tool is great for separating your foreground elements from the background to apply affects and do simple composites and color grading, but it won't work miracles and it is still quite time-consuming to achieve a good extraction.
Updated Mocha for After Effects CS5 v2 with Mocha Shape
Mocha for After Effects CS5 v2 ships as a standalone application along with Mocha Shape for creating roto-mattes. Mocha provides 2.5D planar tracking of your footage and creates tracking and corner-pin data that can easily be imported back into your After Effects project. The Mocha Shape plug-in is now included, which allows you to create roto-mattes in Mocha 2 and import the rotoscope data, with variable, per-point edge feathering.
There has been some confusion regarding Mocha for After Effects CS5 v2 and the full version of Mocha 2 from Imagineer Systems. The full version of Mocha 2 that does not ship with After Effects CS5 has a newly designed interface, motion blur mattes, an image stabilization module, and is 64-bit optimized. The Mocha for After Effects 2 is still 32-bit. There is a product comparison chart available on the Imagineer Systems Website that describes the differences in detail.
Digieffects Freeform AE
Using displacement maps and meshes that you can distort and animate, the Digieffects Freeform effect (formerly known as Forge Freeform by Mettle.com) plug-in allows you to add simulated depth and distortion to flat 3D planes in After Effects CS5. You can apply either a displacement map to the 3D layer or sub-comp, or manipulate the distortion mesh to create interesting effects in 3D space. It still doesn't create true volumetric 3D modeling or extrusions, but the distortions do react to the After Effects' 3D lighting and shadows appropriately, and interact with other 3D layers in your composition, unlike imported Live 3D layers from Photoshop.
Import Repoussé 3D from Photoshop CS5
Starting with After Effects CS4, you've been able to import 3D layers from Photoshop through the Live 3D feature. Photoshop CS5 ( Macworld rated 4.5 out of 5 mice ) has a new feature called Repoussé, which creates volumetric extrusions from text and any layer with an alpha channel. These 3D layers can be imported into After Effects CS5 like any other Live 3D layer.
However, as with all imported 3D objects from Photoshop, there is no real 3D interaction with After Effects lights or other 3D layers. All of the lights on the objects must be applied in Photoshop and remain static on the surface of the object, regardless of how you place this 3D layer in your After Effects scene. You can still animate the position of the 3D object in After Effects, but there will be no interaction or shadows on or from other 3D layers. This is an area in After Effects that I feel Adobe needs to focus on in future versions.
Macworld's buying advice
After Effects CS5 is a much-needed and critical upgrade for speed and productivity in a 64-bit workflow. The Roto Brush is handy once you get the hang of it, and the added plug-ins offer advanced capability right within the program. Make sure you keep your CS4 version installed, though, for updating your old projects and to use with all of your older 32-bit plug-ins.
[Jeff Foster has written and contributed to several books and magazines, and has been producing award-winning motion graphics, photography and creative design for major corporations, television and film for more than 20 years.]
This story, "After Effects CS5" was originally published by Macworld.To comment on this article and other PCWorld content, visit our Facebook page or our Twitter feed.
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