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«PROFESSIONAL USER GUIDE © 2007 Adobe Systems Incorporated. All rights reserved. Copyright Adobe® After Effects® CS3 User Guide for Windows® and ...»

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• From the Adobe Premiere Pro Timeline panel, you can copy assets (any items in a track) and paste them into the After Effects Timeline panel.

• From either After Effects or Adobe Premiere Pro, you can copy and paste footage to the other’s Project panel.

Note: You can’t, however, paste footage from the After Effects Project panel into the Adobe Premiere Timeline panel.

If you want to work with all clips or a single sequence from an Adobe Premiere Pro project, use the Import command instead to import the project into After Effects.

Use Adobe Dynamic Link to create dynamic links, without rendering, between new or existing compositions in After Effects and Adobe Premiere Pro.

See also“About Dynamic Link (Production Premium only)” on page 609

Copy from After Effects to Adobe Premiere Pro You can copy a footage layer from an After Effects composition and paste it into an Adobe Premiere Pro sequence.

Adobe Premiere Pro converts footage layers to clips in the sequence and copies the source footage to its Project panel.

If the layer contains an effect that is also used by Adobe Premiere Pro, Adobe Premiere Pro converts the effect and all of its settings and keyframes.

You can also copy nested compositions, Photoshop layers, solid layers, and audio layers. Adobe Premiere Pro converts nested compositions to nested sequences, and solid layers to color mattes. You cannot copy text, shape, camera, light, or adjustment layers to Adobe Premiere Pro.

1 Start Adobe Premiere Pro (you must start Adobe Premiere Pro before you copy the layer in After Effects).

2 Select a layer (or layers) from the After Effects Timeline panel.

Note: If you select multiple layers and the layers don’t overlap in After Effects, they’re placed on the same track in Adobe Premiere Pro. On the other hand, if the layers overlap in After Effects, the order in which you select them determines the order of their track placement in Adobe Premiere Pro. Each layer is placed on a separate track, and the last selected layer appears on Track 1. For example, if you select layers from top to bottom, the layers appear in the reverse order in Adobe Premiere Pro, with the bottommost layer on Track 1.

3 Choose Edit Copy.

4 In Adobe Premiere Pro, open a sequence in the Timeline panel.

5 Move the current-time indicator to the desired location, and choose either Edit Paste or Edit Paste Insert.

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Copy from Adobe Premiere Pro to After Effects You can copy a video or audio asset from an Adobe Premiere Pro sequence and paste it into an After Effects composition. After Effects converts assets to footage layers and copies the source footage into its Project panel. If the asset contains an effect that is also used by After Effects, After Effects converts the effect and all of its settings and keyframes.

You can copy color mattes, stills, nested sequences, and offline files as well. After Effects converts color mattes into solid layers and converts nested sequences into nested compositions. When you copy a Photoshop still image into After Effects, After Effects retains the Photoshop layer information. You cannot paste Adobe Premiere Pro titles or effects into After Effects.

1 Select an asset from the Adobe Premiere Pro Timeline panel.

2 Choose Edit Copy.

3 In After Effects, open a composition in the Timeline panel.

4 With the Timeline panel active, choose Edit Paste. The asset appears as the topmost layer in the Timeline panel.

Note: To paste the asset at the current-time indicator, position the current-time indicator and press Ctrl+Alt+V (Windows) or Command+Option+V (Mac OS).

–  –  –

A database retains links to each of the cached media files. This media cache database is shared with Adobe Premiere Pro, Adobe Encore, and Adobe Soundbooth, so each of these applications can each read from and write to the same set of cached media files. If you change the location of the database from within any of these applications, the location is updated for the other applications, too. Each application can use its own cache folder, but the same database keeps track of them all.

❖ Choose Edit Preferences Memory & Cache (Windows) or After Effects Preferences Memory & Cache (Mac

OS), and do one of the following:

• Click one of the Choose Folder buttons to change the location of the media cache database or the media cache itself.

• Click Clean Database & Cache to remove conformed and indexed files from the cache and to remove their entries from the database. This only affects footage items for which the source file is no longer available.

Note: Before clicking the Clean Database & Cache button, make sure that any drives that contain your currently used source media are connected to your computer. If footage is determined to be missing because the drive on which it is located is not connected, the associated files in the media cache will be removed. This will result in the need to reconform or reindex the footage when you attempt to use the footage later.

Types of video and film Some of the source footage you use may have been created digitally (for example, in Photoshop or Adobe Premiere Pro), but other footage may need to be transferred to the computer from analog sources, such as film and videotape.

Understanding some of the media differences can help you decide how to handle footage as you transfer it between digital and analog devices.

For introductions to digital video, digital audio, high-definition video, DVD, compression, and streaming video, visit the Adobe website at www.adobe.com/go/learn_dv_primers.

Analog video Comes from an analog camera and carries picture and sound information by creating continuous variations in an electromagnetic signal. Before you can import analog video into After Effects, you need to capture it. Capturing transfers video from tape to your hard disk, and involves the conversion of the analog signal to a digital signal.

Digital video Comes from a digital video camera, and carries picture information by representing each pixel of a video frame as discrete color and intensity values and transmitting and storing the pixel values in the binary data format used by computers. Sound is also carried as binary data.

Digital video is not one format but a medium. There are many digital video file formats exist. Even if your source footage was created digitally, you need to make sure that it is stored in a file format that After Effects can import.

If you plan to distribute the movie digitally, for example on DVD, you must render it in a file format appropriate for your distribution method.

DV video format is a form of digital video that can be captured directly to your hard disk for editing in applications such as After Effects and Adobe Premiere Pro. Most DV cameras and decks can connect directly to a computer using an IEEE 1394 (FireWire/i.Link) interface.

Note: Some formats, such as Adobe Flash Video, have elements of conventional digital video, but represent an intermediate category between what has conventionally been thought of as a video format and what has conventionally been thought of as computer animation format.

Analog film Carries picture information by creating variations in colored pigments on a strip of acetate (the long reel run through the traditional film projector). Examples include still transparencies and common motion-picture film.

AFTER EFFECTS CS3 69 User Guide To apply digital effects to motion-picture film using After Effects, you must first transfer the film to a digital format.

You can transfer film in two ways:

• Use a film scanner to transfer each analog film frame directly to a digital movie frame. This method best preserves the image quality. Using a film scanner is preferable, because you scan the footage directly to the computer as noninterlaced, full-resolution, 24-fps footage; in other words, it is ready to use in After Effects.

• Transfer the analog film to analog videotape, and then digitize the videotape. This process is called telecine

transfer. It converts 24-fps film footage to 30-fps videotape using 3:2 pulldown. Transferring using the 3:2

pulldown method introduces two issues: You must resolve the different frame rates of videotape and motionpicture film, and you must separate the fields of the interlaced video. After Effects can automatically resolve both of these issues while preserving image quality.

Note: To use an After Effects movie in an analog motion-picture film, you must transfer the movie back to the analog film medium. This transfer process is generally done at a post-production facility.

See also“Working with Cineon footage items” on page 251

About high-definition (HD) video High-definition (HD) video refers to any video format with a resolution higher than standard-definition (SD) video formats. Typically, standard-definition refers to digital formats with resolutions close to those of analog TV standards, such as NTSC and PAL (around 480 or 576 vertical lines, respectively). The most common HD formats have resolutions of 1280 x 720 or 1920 x 1080, with a widescreen aspect ratio of 16:9.

HD video formats include interlaced and noninterlaced varieties. Typically, the highest-resolution formats are interlaced at the higher frame rates, because noninterlaced video at this resolution would require a prohibitively high data rate.

HD video formats are designated by their vertical resolution, scan mode, and frame or field rate (depending on the scan mode). For example, 1080i60 denotes interlaced scanning of 60 interlaced 1920 x 1080 fields per second, whereas 720p30 denotes progressive scanning of 30 noninterlaced 1280 x 720 frames per second. In both cases, the frame rate is approximately 30 frames per second. For more information on high-definition video, see www.adobe.com/go/learn_dv_primer_highdef.

Programs in Adobe Creative Suite 3 Production Premium (Adobe Premiere Pro, Adobe After Effects, Adobe Soundbooth, and Adobe Encore) includes presets that are designed for working with various HD formats. Some of the most

common HD video formats you may encounter include the following:

DVCPRO HD Panasonic’s high-definition variant of its DVCPRO format, which also includes DVCPRO25 and DVCPRO50. Whereas DVCPRO25 and DVCPRO50 support data rates of 25Mbits/s (megabits per second) and 50Mbit/s, respectively, DVCPRO HD supports a data rate of 100Mbit/s, from which it gets its other name, DVCPRO100.

HDCAM Sony’s high-definition version of its Digital Betacam format. A variant called HDCAM SR uses a tape with a higher particle density to record video with greater color sampling and at higher bit rates. However, HDCAM SR is supported by decks only, and not camcorders.

HDV Developed jointly by several companies, HDV employs a form of MPEG-2 compression to enable highdefinition video to be encoded onto standard miniDV cassette media.

H.264 Also known as MPEG-4 part 10 and AVC (Advanced Video Coding), H.264 can deliver video over a range of bitrates more efficiently than previous standards. For example, H.264 can deliver the same quality as MPEG-2 at half AFTER EFFECTS CS3 70 User Guide the data rate. H.264 is built into the Apple QuickTime 7 multimedia architecture, and it’s supported by both HD-DVD and Blu-ray Disc, two newer DVD formats.

Uncompressed HD High-definition video in an uncompressed format. Without compression to reduce the video’s data rate, uncompressed video requires relatively fast computer processors, hard disks, and a specialized capture device.

WM9 HDTV Microsoft’s high-definition delivery format is among numerous formats included in the Windows Media 9 (WM9) framework. By employing an aggressive compression scheme, WM9 HDTV permits highdefinition video encoding and playback at relatively low data rates.

About interlaced and noninterlaced video Interlacing is a technique developed for transmitting standard-resolution television signals using limited bandwidth.

In an interlaced system, only half the number of horizontal lines for each frame of video are transmitted at a time.

But because of the speed of transmission, the afterglow inherent in cathode ray tubes, and the persistence of vision, the viewer perceives each frame in full resolution. All of the analog television standards use interlacing. Digital television standards include both interlaced and noninterlaced varieties. Typically, interlaced signals are generated from interlaced scanning while noninterlaced signals are generated from progressive scanning.

Each interlaced video frame consists of two fields. Each field contains half the number of horizontal lines in the frame; the upper field (or Field 1) contains the odd-numbered lines, and the lower field (or Field 2) contains the evennumbered lines. An interlaced video monitor displays each frame by first drawing all of the lines in one field and then drawing all of the lines in the other field. Field order specifies which field is drawn first. In NTSC video, new fields are drawn to the screen approximately 60 times per second, corresponding to a frame rate of approximately 30 frames per second.


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Interlaced scanning of interlaced video fields compared with progressive scanning of noninterlaced video frame.

A. For interlaced video, entire upper field is drawn to screen first, from top to bottom, in one pass. B. Next, entire lower field is drawn to screen, from top to bottom, in one pass. C. For noninterlaced video, entire frame is drawn to screen, from top to bottom, in one pass.

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The terms progressive and noninterlaced are thus closely related and are often used interchangeably, but progressive refers to the recording or drawing of the scan lines by a camera or monitor, whereas noninterlaced refers to the fact that the video data itself isn’t separated into fields. For example, it’s possible with some modern cameras to use progressive scanning to record two simultaneous fields per frame of interlaced video.

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