Adobe CS5.5, Win 65110237 User Manual
Product codes
65110237
4
Adobe After Effects CS5.5
What’s New
whichever channel values you specify to grayscale values that correspond to depth. The white
areas of the map are fully blurred, the black areas not at all, while any gray areas transition between
the two extremes.
areas of the map are fully blurred, the black areas not at all, while any gray areas transition between
the two extremes.
Take the guesswork out of edits with source timecode support
Timecode support saves steps when working directly with source footage. Without it, you are left
to guess based on visual clues or frame counts how a video selection is edited, increasing the
likelihood of extra steps and careless errors. Suppose that an editor wants you to check specific
frames to evaluate how well the background can be color keyed. With timecode information, you
can be confident you’re reviewing the same images. Whereas previously you needed a nonlinear
editor such as Adobe Premiere Pro to access timecode, you now can save time and avoid ambiguity
by accessing this data directly in After Effects.
Timecode is embedded in source media when recorded and used to log takes when edited.
Timecode hours, minutes, seconds, and frames settings are absolute and do not change, making it
possible to determine exactly where a clip begins and ends. Most video formats, including
QuickTime, AVI, Broadcast WAV, DPX, and some variations of MXF embed timecode data that can
be read by After Effects. Timecode offsets can be recorded as XMP metadata.
Timecode data are automatically imported with eligible source files and appear in the Project
panel. You can search for a clip using the source data. A set of clips can be sorted in chronological
order, regardless of clip names or other attributes, just by clicking on the In Point column heading.
When working with a large project, you can organize source clips by the reel on which they were
shot; this information also appears directly in the Project panel.
to guess based on visual clues or frame counts how a video selection is edited, increasing the
likelihood of extra steps and careless errors. Suppose that an editor wants you to check specific
frames to evaluate how well the background can be color keyed. With timecode information, you
can be confident you’re reviewing the same images. Whereas previously you needed a nonlinear
editor such as Adobe Premiere Pro to access timecode, you now can save time and avoid ambiguity
by accessing this data directly in After Effects.
Timecode is embedded in source media when recorded and used to log takes when edited.
Timecode hours, minutes, seconds, and frames settings are absolute and do not change, making it
possible to determine exactly where a clip begins and ends. Most video formats, including
QuickTime, AVI, Broadcast WAV, DPX, and some variations of MXF embed timecode data that can
be read by After Effects. Timecode offsets can be recorded as XMP metadata.
Timecode data are automatically imported with eligible source files and appear in the Project
panel. You can search for a clip using the source data. A set of clips can be sorted in chronological
order, regardless of clip names or other attributes, just by clicking on the In Point column heading.
When working with a large project, you can organize source clips by the reel on which they were
shot; this information also appears directly in the Project panel.
Bokeh blur is the natural result
when highlights appear in the
when highlights appear in the
defocused area of an image, but it
is not a part of most blur
operations. The depth-of-field
effects on the right bring focus to
effects on the right bring focus to
the face by making the foreground
appear defocused.
After Effects can read embedded source timecode data, enabling more precision when working directly with source
footage. If a tape name has been specified, it appears in the Project panel along with the in and out points of a source clip.