What you’ll learn in this After Effects Tutorial:
This tutorial provides you with a foundation for working with Adobe After Effects media management. It is the third lesson in the Adobe After Effects CS6 Digital Classroom book. For more Adobe After Effects training options, visit AGI’s After Effects Classes.
To be a successful After Effects artist, you need to understand the different types of media you will work with, and know how to keep them organized. You also need to know how to work with and manipulate a variety of media types. After Effect provides you with tools to import, organize, edit and preview almost any type of digital media.
You will work with several files from the ae03lessons folder in this lesson. Make sure that you have loaded the aelessons folder onto your hard drive from the supplied DVD. See “Loading lesson files” in the Starting up section of this book.
Use the accompanying video to gain a better understanding of how to use some of the features shown in this lesson. The video tutorial for this lesson can be found on the included DVD.
A very important aspect of the motion design process, one that is also often overlooked is the concept of Media Management. Simply put, Media Management is how you organize or manage the media that you are working with in a project. There are two equally important aspects of Media Management. The first is how you manage the media that you are working with on your hard drive, and the second is how you organize the different media references that you import into After Effects.
You will look at how and where you need to store your original media files first. For the sake of portability, performance, and safety, it is usually best to store your media on an external hard drive. The two standard connection types for external hard drives are FireWire (400 and 800) and USB 2.0. Most video editors (especially those who work on the Mac OS) will probably recommend a FireWire drive due to its higher sustained bus speed, but because After Effects doesn’t reference media in the same way as video editing applications, either connection type should work for you. What is more important than the type of connection that your disk drive uses is that you always keep it organized. There has long been a truism in the design and animation industries that the most important things to remember about working with files are where they are and what they’re called.
The project file is at the heart of all the work you do in Adobe After Effects. The project file contains links to all the media that you are using in your compositions as well as the compositions themselves. While a project can contain many different media elements and compositions, only one project can be open at a time in After Effects. You can think of the project file as a container, a briefcase for carrying around the content of your animations. Project files in After Effects are kept very small because media are not embedded or added to the project file. Instead, the project file contains links or references to any piece of media (audio, video, or stills) that you import. This creates a situation where the project is dependent on the media files remaining unchanged and in the same relative location on your hard drive. So if you have a situation that requires you to move your projects from one computer to another, you must move not only the project file but also the original media that are stored on your hard drive. Not every element you will use is external, though; compositions, shapes, lights, cameras, and other content that you create in After Effects are stored as part of the project file.
Compositions, often called comps for short, are a unique feature of After Effects, though they are similar to sequences, which can be found in video editing and animation programs such as Adobe Premiere or Apple Final Cut Pro. They are one of the key program features that you will become used to working with as you begin to master After Effects. Each composition—you can have multiple compositions in each project—represents an independent Timeline and can contain any combination of video, audio, still images, shape layers, and other elements. Compositions can even contain other compositions (this is called nesting compositions), and this feature is the key to creating more complex animations and composites. When creating compositions, you want to set their properties for the format that you plan to output to.
If you have a video editing background, this is probably going to be completely contrary to what you have been taught, but it is actually the standard way of working in After Effects. So if you are creating graphics for standard-definition broadcast television, you will want to create your comps to the NTSC standard, and if you are creating graphics for display on a computer screen, you will want to build comps that match your expected screen resolution.
If you have used other graphics applications such as Photoshop, Illustrator, or Flash, layers may be a familiar concept to you. If you are new to the concept of layers, then, like compositions, they are a feature of After Effects that you will become more familiar with as you work your way through the lessons in this book. You cannot edit media in a composition directly; instead, each piece of media that is placed into a composition exists on its own track, called a layer. Each layer has properties such as position, opacity, and duration that you can adjust individually or in tandem with other layers. In addition to a layer’s built-in editable properties, you have the ability to add a wide variety of effects from the Effect menu to any layer, and it is by manipulating the properties of layers and their effects that you can create your animations.
These tutorials are created by Jennifer Smith and the team of expert instructors at American Graphics Institute.