WWW.THESES.XLIBX.INFO
FREE ELECTRONIC LIBRARY - Theses, dissertations, documentation
 
<< HOME
CONTACTS



Pages:     | 1 |   ...   | 22 | 23 || 25 | 26 |   ...   | 103 |

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

-- [ Page 24 ] --

• To create a new Photoshop footage item with the settings of the most recently open composition, without adding it to a composition, choose File New Adobe Photoshop File.

See also “Working with footage items” on page 58 “Preparing and importing Photoshop files” on page 83 “Working with Photoshop and After Effects” on page 32

–  –  –

Top layer selected, but no properties selected; bottom layer selected with properties selected.

To scroll the topmost selected layer to the top of the Timeline panel, press X.

• To select a layer, click the layer in the Composition panel, click the layer’s name or duration bar in the Timeline panel, or click the layer’s name in the Flowchart panel.

• To select a layer that is obscured in the Composition panel, right-click (Windows) or Control-click (Mac OS) over the layer in the Composition panel, and choose Select [layer name].

• To select a layer if the layer is open in its own Layer panel, choose the layer name from the Window menu or the Layer panel viewer menu.

• To select a layer by position number, type the layer number on the numeric keypad. If the layer number has more than one digit, type the digits quickly so that After Effects can recognize them as one number.

• To select the next layer in the stacking order, press Ctrl+Down Arrow (Windows) or Command+Down Arrow (Mac OS). To select the previous layer, press Ctrl+Up Arrow (Windows) or Command+Up Arrow (Mac OS).

• To extend the selection to the next layer in the stacking order, press Ctrl+Shift+Down Arrow (Windows) or Command+Shift+Down Arrow (Mac OS). To extend the selection to the previous layer in the stacking order, press Ctrl+Shift+Up Arrow (Windows) or Command+Shift+Up Arrow (Mac OS).

• To select all layers, choose Edit Select All while the Timeline or Composition panel is active. To deselect all layers, choose Edit Deselect All.

• To deselect any currently selected layers and select all other layers; with at least one layer selected, choose Invert Selection from the context menu in the Composition or Timeline panel.

• To select all layers that use the same color label, click the layer’s color label in the Timeline panel, and choose Select Label Group, or select the layer and choose Edit Label Select Label Group.

• To select all child layers assigned to a parent layer, select the parent layer and choose Select Children from the context menu in the Composition or Timeline panel. The child layers are added to the existing selection.

See also “Work with parent and child layers” on page 158 “Work with color labels” on page 149 “Shortcuts for working with layers” on page 645

–  –  –

Note: Because of their depth properties, the stacking order of 3D layers in the Timeline panel does not necessarily indicate their spatial position in the composition.

• In the Timeline panel, drag the layer names to a new position in the layer stacking order.

• To move the selected layers up one level in the layer stacking order, press Ctrl+Alt+Up Arrow (Windows) or Command+Option+Up Arrow (Mac OS); to move the selected layers down one level, press Ctrl+Alt+Down Arrow (Windows) or Command+Option+Down Arrow (Mac OS).

• To move the selected layers to the top of the layer stacking order, press Ctrl+Alt+Shift+Up Arrow (Windows) or Command+Option+Shift+Up Arrow (Mac OS); to move the selected layers to the bottom, press Ctrl+Alt+Shift+Down Arrow (Windows) or Command+Option+Shift+Down Arrow (Mac OS).

• Choose Layer, and then choose Bring Layer Forward, Send Layer Backward, Bring Layer To Front, or Send Layer To Back.

When you copy (or cut) and paste layers, the layers are pasted so that they appear from top to bottom in the Timeline panel in the same order in which they were selected prior to the copy (or cut) operation. This means that you can Ctrl-click (Windows) or Command-click (Mac OS) layers to select them in any arbitrary order, cut them, and then immediately paste them to reorder the layers in the order in which they were selected.

See also “Render order and collapsing transformations” on page 115 “How render order and collapsed transformations affect 3D layers” on page 175 About coordinate systems As you move the pointer over the layer frame in the Layer panel, the Info panel displays the coordinates of the pixel under the pointer in layer space. The X coordinate represents position on the horizontal axis, and the Y coordinate represents position on the vertical axis. Values for these coordinates are in pixels. The X and Y coordinates are relative to the origin (0,0), which is fixed at the upper left corner of the layer.

You can modify the rulers’ zero point, but you can’t modify the origin of layer space. If the zero point differs from the origin, X' and Y' coordinates appear in the Info panel below the X and Y coordinates, indicating coordinates based on the rulers’ zero point.

When you move the pointer over the composition frame in the Composition panel, the Info panel displays coordinates in composition space. As you drag a layer, the lower portion of the Info panel displays the coordinates of the layer’s anchor point.

See also “Work with safe zones, grids, guides, and rulers” on page 130 “Work with layer anchor points” on page 154

–  –  –





See also “Work with safe zones, grids, guides, and rulers” on page 130 “Work with layer anchor points” on page 154 “Select layers” on page 137 “Modify layer properties” on page 152 “Working with effects and animation presets” on page 350 “Shortcuts for working with layers” on page 645 “Shortcuts for modifying properties” on page 648 Move layers by dragging in the Composition panel To snap a layer’s edges to grids or guides as you drag, choose View Snap To Grid or View Snap To Guides.

• Select one or more layers, and then drag a selected layer using the Selection tool.

When you move a layer by dragging it in the Composition panel, the Info panel shows the change in the Position property as you drag.

Move layers by directly modifying the Position property 1 Select one or more layers.

2 Press P to show the Position property in the Timeline panel.

3 Modify the Position property in the Timeline panel.

Move layers with arrow keys 1 Select one or more layers.

2 To move selected layers one pixel left, right, up, or down, press an arrow key. To move 10 pixels, hold Shift as you press the arrow key.

–  –  –

• When you distribute layers of different sizes, the spaces between layers may not be uniform. For example, distributing layers by their centers creates equal space between the centers—but different-sized layers extend by different amounts into the space between layers.

• Alignment or distribution options cannot move locked layers.

• The Align panel does not affect text alignment.

See also “Select layers” on page 137 “Work with safe zones, grids, guides, and rulers” on page 130 “Align and justify text” on page 283 Trim, extend, or slip-edit a layer The beginning of a layer’s duration is its In point, and the end is its Out point. The duration is the span between the In point and the Out point, and the bar that extends from the In point to the Out point is the layer duration bar.

To trim a layer is to modify its In or Out point so that the layer has a different duration. When you trim a layer that is based on moving source footage, you affect which frames of the source footage item are shown in the layer; the first frame to appear is at the In point, and the last frame to appear is at the Out point.

–  –  –

You can extend many kinds of layers for any duration, extending their In points and Out points out past their original times. This applies to time-remapped layers, shape layers, layers based on still-image footage items, camera layers, light layers, and text layers. If you extend a layer back in time so that the layer extends into negative layer time (past layer time zero), a series of hash marks on the bottom of the layer bar indicates the portions of the layer that are in negative layer time. This indication is useful if you’ve applied an effect to the layer—such as Particle Playground— that uses layer time to calculate its results.

See also “Timeline panel overview” on page 109 “Work with the Layer panel” on page 134 “Shortcuts for working with layers” on page 645 “Using and modifying keyboard shortcuts” on page 638 Trim or extend layers in the Timeline panel Dragging the Out point of a layer duration bar.

1 Select one or more layers in the Timeline panel.

2 Do one of the following:

• Drag either end of a layer duration bar.

• Move the current-time indicator to the time at which you want to set the In point or Out point. To set the In point to the current time, press Alt+[ (Windows) or Option+[ (Mac OS). To set the Out point to the current time, press Alt+] (Windows) or Option+] (Mac OS).

Trim or extend a layer in the Layer panel

• Open the layer in the Layer panel and drag either end of the layer duration bar.

• Move the current-time indicator in the Layer panel to the time at which you want the footage to begin or end, and then click the In or Out button to set the In or Out point to the current time.

–  –  –

When performing a slip edit, you probably want to move some keyframes with the source footage—such as mask keyframes. Other keyframes should stay where they are in time. Press Shift+F2 to deselect keyframes and leave the layer selected.

• Drag the slip-edit bar to the left or right.

Remove part of a layer’s duration 1 In the Timeline panel, set the work area to include only the portion of the layers’ duration to remove: Move the current-time indicator to the time that the work area is to begin, and press B. Move the current-time indicator to the time at which the work area is to end, and press N.

2 Do one of the following:

• Select the layers from which to remove a section.

• Select the Lock switch for layers that you do not want affected by the extraction. Press F2 to deselect all layers.

Note: If no layers are selected, the following step removes the section from all unlocked layers.

3 Do one of the following:

• To remove the section and leave a gap of the same duration as the removed section, choose Edit Lift Work Area.

• To remove the section, choose Edit Extract Work Area. The gap is closed by ripple deletion.

See also“Set the work area” on page 112“Select layers” on page 137

Place a layer in time The layer duration bar represents the layer duration visually. The In, Out, and Duration columns in the Timeline panel represent the layer duration numerically.

Note: To choose which columns are visible in the Timeline panel, choose Columns from the panel menu, or right-click (Windows) or Control-click (Mac OS) a column heading.

These procedures move the entire layer in time.

• To set the In point or Out point numerically, click the number in the In or Out column for the layer in the Timeline panel.

• To move the In point or Out point to the current time, Alt-click (Windows) or Option-click (Mac OS) the number in the In or Out column for the layer in the Timeline panel.

• To move the In points of selected layers to the beginning of the composition, press Alt+Home (Windows) or Option+Home (Mac OS).

• To move the Out points of selected layers to the end of the composition, press Alt+End (Windows) or Option+End (Mac OS).

• To move selected layers one frame later, press Alt+Page Down (Windows) or Option+Page Down (Mac OS). To move selected layers 10 frames later, press Alt+Shift+Page Down (Windows) or Option+Shift+Page Down (Mac OS).

• To move selected layers one frame earlier, press Alt+Page Up (Windows) or Option+Page Up (Mac OS). To move selected layers 10 frames earlier, press Alt+Shift+Page Up (Windows) or Option+Shift+Page Up (Mac OS).

AFTER EFFECTS CS3 144 User Guide

• To move the entire layer in time by dragging, drag the layer duration bar to the left or right. To snap the layer duration bar to significant points in time (such as markers, or the start or end of the composition), Shift-drag the layer duration bar.

Note: When you drag a layer in the Timeline panel, the Info panel displays the name, duration, change in time, and In and Out points for the layer.

Before and after dragging the duration bar See also “Layer switches and columns in the Timeline panel” on page 147 “Select layers” on page 137 “Shortcuts for working with layers” on page 645 “Trim, extend, or slip-edit a layer” on page 141 “Timeline panel overview” on page 109 Arrange layers in time sequentially Use the Sequence Layers keyframe assistant to automatically arrange layers in a sequence. When you apply the keyframe assistant, the first layer you select remains at its initial time, and the other selected layers move to new times in the Timeline panel based on the order in which you selected them.

–  –  –

Overlapping layers can have Opacity keyframes set automatically to create a cross-dissolve.

For a layer to be put into a sequence, its duration must be less than the length of the composition so that it leaves time for other layers. (See “Trim, extend, or slip-edit a layer” on page 141.) 1 In the Timeline panel, hold down Ctrl (Windows) or Command (Mac OS) and select layers in sequential order, beginning with the layer to appear first.

2 Choose Animation Keyframe Assistant Sequence Layers.

3 In the Sequence Layers dialog box, do one of the following:

• To arrange the layers end to end, leave the Overlap option unselected.

• To overlap layers, select Overlap, enter a Duration value for the duration of the overlap, and select a transition.

Select Cross Dissolve Front And Back Layers to use the transparency of the selected layers; otherwise, choose Dissolve Front Layer.



Pages:     | 1 |   ...   | 22 | 23 || 25 | 26 |   ...   | 103 |


Similar works:

«J-A11016-16 NON-PRECEDENTIAL DECISION SEE SUPERIOR COURT I.O.P. 65.37 ALLEN FEINGOLD AND RUTH WALLACE IN THE SUPERIOR COURT OF PENNSYLVANIA Appellants v.STATE FARM MUTUAL INSURANCE CO., DAVID ROHDE, LAW OFFICES OF DAVID ROHDE, MARC RICKLES, JOSEPH HANKINS, AND BRITT, HANKINS & MOUGHAN Appellees No. 1573 EDA 2015 Appeal from the Order Entered May 20, 2015 In the Court of Common Pleas of Philadelphia County Civil Division at No(s): 02058 January Term, 2015 BEFORE: SHOGAN, J., MUNDY, J., and...»

«Aves de mi tierra Libro de lectura en el idioma Matsés con traducción al castellano Cun Nidaidën Icquid Podo Choquido Aves de mi tierra Elaboración de textos: Daniel Manquid Jiménez Huanán Ilustraciones: Guillermo Nëcca Pëmen Mënquë Diseño y diagramación: Rubén Colonia Revisión: David W. Fleck Primera edición Hecho el Depósito Legal en la Biblioteca Nacional del Perú N° 2014-06731 Tiraje: 1000 ejemplares Lima, mayo de 2014 Editado por Fondo de las Naciones Unidas para la...»

«Elhannon, LLC (D/8/A Elhannon, LLC Wholesale Tree Nursery), PR 09-050 STATE OF NEW YORK INDUSTRIAL BOARD OF APPEALS -·X In the Matter of the Petition of: ELHANNON, LLC (D/B/A ELHANNON, LLC WHOLESALE TREE NURSERY) Petitioner, DOCKET NO. PR 09-050 To Review Under Section 101 of the Labor Law: An Order to Comply with Article 19 of the Labor RESOLUTION OF DECISION Law, and an Order to Comply With Article 6 of the Labor Law, and an Order Under Articles 19 and 19-A of the Labor Law, each dated...»

«RECENT DEVELOPMENTS UNDER THE EQUAL PAY ACT National Employment Lawyers Association “Protecting Employee Rights Under the FLSA, FMLA & Equal Pay Act” March 8, 2003 Sam J. Smith1 Marguerite M. Longoria2 Burr & Smith, LLP 442 W. Kennedy Blvd., Suite 300 Tampa, FL 33606 Tel: (813) 253-2010 Fax: (813) 254-8391 ssmith@burrandsmithlaw.com mlongoria@burrandsmithlaw.com www.burrandsmithlaw.com Burr & Smith, LLP practices multi-party, collective and class action litigation in employment...»

«A GUIDE TO METAL DETECTION IN THE FOOD MANUFACTURING INDUSTRY HOW A METAL DETECTOR WORKS The most widely-used type of metal detector in the food industry functions on the principle known as the balanced coil system. This was first registered as a patent in the 19th century, but the first industrial metal detector was not produced in the UK until 1948. The progress of technology has taken metal detectors from valves to transistors, to integrated circuits and more recently, into microprocessors....»

«The American Legion DISTRICT/COUNTY COMMANDER’S GUIDE Racing to the Top The American Legion 1 FOR GOD AND COUNTRY WE ASSOCIATE OURSELVES TOGETHER FOR THE FOLLOWING PURPOSES: To uphold and defend the Constitution of the United States of America; To maintain law and order; To foster and perpetuate a one hundred percent Americanism; To preserve the memories and incidents of our associations in the great wars; To inculcate a sense of individual obligation to the community, state and nation; To...»

«Madrid 2008 Victoria Tur Viñes Irene Ramos Soler Marketing y Niños © ESIC EDITORIAL Avda. de Valdenigrales, s/n. 28223 Pozuelo de Alarcón (Madrid) Tel.: 91 452 41 00 Fax: 91 352 85 34 www.esic.es © Victoria Tur Viñes e Irene Ramos Soler ISBN: 978-84-7356-542-4 Depósito Legal: M. X.XXX-2007 Portada: Gerardo Domínguez Fotocomposición: Symbol XXI, S.L. Jerez de la Frontera, 40 B 28320 Pinto (Madrid) Imprime: Gráficas Dehon La Morera, 23-25 28850 Torrejón de Ardoz (Madrid) Impreso en...»

«UNITED STATES BANKRUPTCY COURT SOUTHERN DISTRICT OF NEW YORK MICHAEL S. KIMM, ESQ. (MK4476) KIMM LAW FIRM 41-W BANCKER STREET ENGLEWOOD, NJ 07631 TEL: 201-569-2880 FAX: 201-569-2881 Attorneys for Sang Chul Lee and Dukson Lee : In re: : Chapter 11 : GENERAL MOTORS, et al. : Case No. 09-50026 (REG) : Debtors. : (Jointly Administered) : : NOTICE OF MOTION BY CREDITORS SANG CHUL LEE AND DUKSON LEE TO ALLOW LATE CLAIM FILED TO BE DEEMED TIMELY FILED PLEASE TAKE NOTICE that upon the Motion of...»

«CONDITIONAL EXPECTATION 1. CONDITIONAL EXPECTATION: L 2 −THEORY Definition 1. Let (Ω, F, P ) be a probability space and let G be a σ−algebra contained in F. For any real random variable X ∈ L 2 (Ω, F, P ), define E (X | G ) to be the orthogonal projection of X onto the closed subspace L 2 (Ω, G, P ). This definition may seem a bit strange at first, as it seems not to have any connection with the naive definition of conditional probability that you may have learned in...»

«FPL-037 STATE OF FLORIDA DIVISION OF ADMINISTRATIVE HEARINGS TROPICAL AUDUBON SOCIETY, INC., Petitioner, vs. Case No. 15-3845 FLORIDA POWER & LIGHT COMPANY AND SOUTH FLORIDA WATER MANAGEMENT DISTRICT, Respondents. _/ RECOMMENDED ORDER The final hearing in this case was held on October 13 and 14, 2015, in Miami, Florida, before Bram D.E. Canter, an Administrative Law Judge of the Division of Administrative Hearings (“DOAH”). APPEARANCES For Petitioner Tropical Audubon Society, Inc.: James M....»

«Secretariat of the Basel, Rotterdam and Stockholm Conventions United Nations Environment Programme, International Environment House 1 11 – 13 Chemin des Anémones, CH 1219 Châtelaine, Switzerland Tel : +41 22 917 82 18, Fax : +41 22 917 80 98, Email : brs@brsmeas.org Contribution of the Secretariat of the Basel, Rotterdam and Stockholm Conventions to the second part of the Secretary General’s comprehensive report on oceans and the law of the sea 1. Executive summary The Basel Convention on...»

«PRIVACY POLICIES & A CHECKLIST FOR DRAFTING A PRIVACY STATEMENT Excerpted from Chapter 26 (Data Privacy) of E-Commerce and Internet Law: A Legal Treatise With Forms, Second Edition, a 4-volume legal treatise by Ian C. Ballon (Thomson/West Publishing 2014) ACC SOCAL PRESENTS THE IN-HOUSE COUNSEL CONFERENCE JANUARY 22, 2014 THE BEVERLY HILLS HOTEL BEVERLY HILLS, CA Ian C. Ballon Greenberg Traurig, LLP Los Angeles: Silicon Valley: 1900 University Avenue, 5th Fl. 1840 Century Park East, Ste. 1900...»





 
<<  HOME   |    CONTACTS
2016 www.theses.xlibx.info - Theses, dissertations, documentation

Materials of this site are available for review, all rights belong to their respective owners.
If you do not agree with the fact that your material is placed on this site, please, email us, we will within 1-2 business days delete him.