After Effects and Photoshop

After Effects®

and Photoshop®

Animation and Production Effects

for DV and Film

Second Edition

Jeff Foster

WILEY PUBLISHING, INC.

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Praise for Jeff Foster’s

After Effects and Photoshop

Choosing to write a book about either Adobe Photoshop or Adobe After Effects

poses quite a challenge. Taking on the task of writing a book that covers both multi￾plies that challenge, but also offers a unique perspective into the creative possibilities

these applications have not only individually, but in tandem. For anyone who uses

both applications, this is a must-read.

—DANIEL BROWN, Sr. Evangelist, Digital Video, Adobe Systems Inc.

With the book you hold in your hands, Jeff Foster has created the one indispensble, and

definitive, production guide to two of the world’s greatest symbiotic tools: After Effects

and Photoshop. One has to be an expert in Photoshop to really make After Effects fly,

the two programs being joined at their very core. And one also needs a professional

understanding of traditional cinematic and animation timing and effects—as well as

directing material in 3D space—to fully take advantage of the capabilities of Adobe’s

most powerful siblings. Jeff has this expertise in spades, and he combines his many

years of professional experience with his gift for training and inspiring others in this

immensely practical and straightforward book and DVD package. Buy it—from the

first project, it will dramatically expand your creative possibilities.

—JACK H. DAVIS, coauthor, the Photoshop Wow! books, the One-Click Wow!

books, and How to Wow: Photoshop for Photography

This book really speaks a motion-designer’s language, from the layout to the projects

to Jeff’s step-by-step style—it all comes together in a book that needs to be on every

motion graphic designer’s shelf. Well done!

—SCOTT KELBY, President, National Association of Photoshop Professionals

The only thing that could add to the awesome power of After Effects and Photoshop

on my computer would be a single kick-ass book on how to use both programs

together—and this book is it. If you’re holding this book in your hands, buy it now!

You can thank me later.

—BOB SELF, animator/educator

Jeff shares his big bag of tricks and techniques to spark creativity and give animations

that extra edge. Covering a mix of technical and design principles, this book will be

appreciated by both aspiring and experienced motion graphic designers.

—STEVE TIBORCZ, After Effects Quality Engineering

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4455c00.qxd 1/25/06 1:52 PM Page ii

After Effects®

and Photoshop®

Animation and Production Effects

for DV and Film

Second Edition

Jeff Foster

WILEY PUBLISHING, INC.

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Wiley Publishing, Inc.

Acquisitions Editor: Willem Knibbe

Developmental Editor: Heather O’Connor

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Cover Designer and Illustration: Richard Miller, Calyx Design

Cover Image: Jeff Foster

Copyright © 2006 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

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ISBN-13: 978-0-7821-4455-0

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Thank you for choosing After Effects and Photoshop, Second

Edition. This book is part of a family of premium quality Sybex graphics books, all

written by outstanding authors who combine practical experience with a gift for teaching.

Sybex was founded in 1976. Thirty years later, we’re still committed to produc￾ing consistently exceptional books. With each of our graphics titles we’re working hard

to set a new standard for the industry. From the paper we print on, to the writers and

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Dear Reader,

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Acknowledgments

I would like to thank the great editorial and development team at Sybex for all your

help and encouragement in producing this book—it just wouldn’t be complete without

your input and guidance. My college English professor must think I can really write

like this! And to the production team, thank you for making this book and DVD

look great!

I also want to thank my professional design and instructional colleagues for

your guidance, ideas, and support. I couldn’t have done this book without the still

image content and support from Stephanie Robey at PhotoSpin.com. Thanks! And

many thanks to the Adobe After Effects and Photoshop development teams for your

help and for listening to us “users.” Thanks for making these great products so fun

to use!

I would especially like to thank my family and friends for your continued love,

understanding, and support—especially when I’ve been too tired and grouchy to talk to.

I love you all!

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About the Author

Jeff Foster has authored and contributed to several Adobe how-to books, including

the Photoshop Web Magic series and Special Edition: Using Photoshop series. He has

appeared regularly as a member of the Instructor Dream Team at PhotoshopWorld and

as a featured speaker at Macworld User Conferences and the NAB (National Association

of Broadcasters) Post Production Conference. He has served as an instructor and course

curriculum developer for Westwood College, and he has taught at several other colleges

and universities around Southern California. He provides consulting, training, and

design services for corporate clients, production studios, and TV stations nationally.

Foster has been creating traditional and digital images, photography, illustration,

motion graphics, and special effects for digital video and film for more than two decades.

His vast portfolio includes clients such as McDonnell Douglas, Motorola, Spike TV,

Fox Television, Universal Studios, and Disney.

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Foreword

Print is dead. There… I said it. (It needed to be said.)

Now, I’m not saying that we will never see books in print again, nor that people

all over the world will suddenly stop reading printed material. I’m just stating that the

desktop publishing revolution has seen its glory days. We’re on to a new revolution…

the Digital Video Revolution!

We are living in an age where visual communication is king. Television has

become the #1 outlet for the world to receive information. Filmmakers, actors, and

TV personalities have been elevated to a status that in previous centuries was reserved

only for royalty. DVDs have become the fastest growing new technology of all time.

All these methods of communication and distribution involve visual imagery.

As a video guy working in the new millennium, I find that there are plenty of

books that pay attention to how a single image looks on paper, but almost no resources

on how to make images look great while moving across time. Thank goodness Jeff Foster

has written a book that focuses on how to get your images looking great in Adobe Photo￾shop and then give them life in Adobe After Effects. Every designer in the world has

used Photoshop, and many consider themselves experts at it. However, few have focused

on mastering the art of using Photoshop with other programs as Jeff has.

Jeff Foster has been a leader in the field of motion graphics, animation, and special

effects for 20 years. I first met Jeff as an instructor at PhotoshopWorld years ago, and I

have continued to run into him because he is in such demand as an instructor. As this

book shows, Jeff has a knack for tutorials that make difficult concepts easy to under￾stand. As an Adobe Certified Expert, Jeff also has the technical knowledge needed to

troubleshoot difficult projects, and he shares this knowledge freely with anyone who

attends his classes, reads his books, or visits his entertaining website, PixelPainter.com.

Motion graphics requires technical discipline and artistic discipline. From dis￾placement maps to parenting, layering to compositing, keying to rotoscoping… I can’t

imagine a better guide to navigate a user through the labyrinth of technical detail and

design decisions than Jeff Foster. I consider myself lucky to call Jeff my colleague, my

instructor, and most importantly my friend. As you work through this book, he will

also be a friend to you, especially as you further your knowledge of After Effects and

Photoshop.

Now turn the page and Go Be Creative!

ROD HARLAN

Executive Director, Digital Video Professionals Association

www.DVPA.com, www.DVPA.org, www.RodHarlan.com

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Introduction xvii

Part I Connecting Photoshop, ImageReady, and After Effects 1

Chapter 1 Basic ImageReady Animation, Tweening, and Layer Styles 3

Turning Photoshop Layers into Frames . . . . . . . . . . . . . . . . . . . . . . . . 4

The Animation Palette in ImageReady 5

Exporting Animation Files from ImageReady 7

Pre-Animation: Painless Tweening in ImageReady . . . . . . . . . . . . . . . . 9

Tweening Motion 10

Tweening Effects 11

Applying Depth and Realism to Animations . . . . . . . . . . . . . . . . . . . . 13

Styles in Motion: Neon Text 14

Light in Motion: Leaf Shadow 18

Pattern in Motion: Rolling Eye 21

Chapter 2 Photoshop Layers and After Effects 27

Basic Layer Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Transferring Layers with Style Effects . . . . . . . . . . . . . . . . . . . . . . . . 30

Displacement Maps: Static Layers in Motion . . . . . . . . . . . . . . . . . . . 32

Creating a Displacement Map 33

Applying a Displacement Map 34

Masking and Adjusting a Displacement Map 37

Chapter 3 3-D Layers from Photoshop Layers 41

Basic 3-D Layers in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Parenting the Layers and Adding Text 44

Positioning Lights and Layers 46

Animation with a Camera in Motion . . . . . . . . . . . . . . . . . . . . . . . . . 50

Setting Up a Camera 51

Preparing the Layers 52

Animating the Layers 56

Adding Lights 59

Duplicating Layers in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Putting the Camera in Motion 62

Adding Lights 64

Contents

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Part II Applying Animation Concepts 67

Chapter 4 Cause and Effect 69

Gravity: The Freefall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Gravity: Smooth Landing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Gravity and Collision: The Bounce and Hang Time . . . . . . . . . . . . . . 76

Gravity and Recoil: The Yo-Yo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Inertia and Friction: What a Drag! . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Complex Animations: Combining the Techniques . . . . . . . . . . . . . . . . 85

Chapter 5 Exaggeration Equals Characterization 91

The Classic Sudden Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Bouncing and Falling: Defying the Rules of Gravity . . . . . . . . . . . . . . 95

Rubber Planets: 3-D Animation Effects . . . . . . . . . . . . . . . . . . . . . . . 99

Planet 1: Earth Stop 100

Planet 2: Mars Bounce 103

Planet 3: Moon Pop-Up 107

Planet 4: Saturn Drop 108

Completing the Scene: Adding Lights 110

Kinematics: Human Figure Character Animation . . . . . . . . . . . . . . . 112

The Knee Bone’s Connected to the Leg Bone 113

Kinematic Animation Example 116

Details in Kinematic Animations 117

Part III Clean-Up, Mattes, and Objects 121

Chapter 6 Blue-Screen Garbage Mattes 123

What Is a Garbage Matte? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

The Static Garbage Matte: Defining the Matte’s Boundaries . . . . . . . 125

The Garbage Matte in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Preparing Frames for Rotoscoping . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Bringing Matte Techniques Together . . . . . . . . . . . . . . . . . . . . . . . . 133

Chapter 7 Rotoscoping Techniques with Photoshop 135

Roto Sequences: Getting In and Out . . . . . . . . . . . . . . . . . . . . . . . . 136

Simple Roto Removal 137

Blue-Screen Matte Rotoscoping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Stabilizing and Rotoscoping Old Movies . . . . . . . . . . . . . . . . . . . . . 144

Colorizing Old Movies with Photoshop Layers . . . . . . . . . . . . . . . . . 146

Chapter 8 Shooting a Clean Blue/Green Screen 153

Blue versus Green Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Green Screen Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Lighting the Green Screen and Subjects . . . . . . . . . . . . . . . . . . . . . . 156

Matching the Subject Lighting to the Composition Environment . . . . 160

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Chapter 9 Matte and Keying Plug-Ins 163

Keylight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Removing Chroma Spill from Details 165

Ultimatte AdvantEdge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Applying a Chroma Clean Plate 168

Using Ultimatte in a Production Composition 173

zMatte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Primatte Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

dvMatte Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Side-by-Side Plug-In Comparisons . . . . . . . . . . . . . . . . . . . . . . . . . . 181

The “One-Click Wonder” Test 181

Blue Skies 183

Blue-Screen Textures: Shadows and Highlights 186

Chapter 10 Static Matte “Painting” in Photoshop 191

Embellishing on a Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Masking Motion Layers 200

Relocating the Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Adding a New Sky and Horizon 205

Just Add Water 208

Collecting the Details 209

Chapter 11 Motion Matte “Painting” in Photoshop 213

Background in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Adding a Foreground Matte 217

Putting the Elements in Motion 218

Masks and Mattes in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Creating the Mask 223

Creating Still Mattes in Motion 224

Simulated 3-D Mattes and Layers . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Chapter 12 Making Movies from Stills 233

Extracting the Subjects from an Image . . . . . . . . . . . . . . . . . . . . . . . 234

Creating Zoom Effects with Moving Layers . . . . . . . . . . . . . . . . . . . 237

Simulated Forward Motion with Zoom Effects . . . . . . . . . . . . . . . . . 241

Three-Dimensional Moving Camera Pans . . . . . . . . . . . . . . . . . . . . . 245

Still Camera with Moving Subjects . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Part IV Advanced Movie Magic 255

Chapter 13 Scale and Speed 257

Distance, Perspective, and Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Size, Mass, and Speed 259

Distance and Speed 260

Water Mass and Distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Creating Time-Lapse Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

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Chapter 14 Color, Light, and Focus 269

Distance, Focus, and Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Matching Color, Lighting, and Focus . . . . . . . . . . . . . . . . . . . . . . . . 273

Exposure, Lighting, and Transparency . . . . . . . . . . . . . . . . . . . . . . . 275

Creating a Backlit Glow 277

Third-Party Plug-Ins Enhance the Effect 279

Using a Mask to Create Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Chapter 15 Atmosphere, Film, and Noise Effects 285

Film and Video Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Creating a Noise Loop Movie 286

Applying the Noise Loop in After Effects 288

Adding Noise with the 55mm Faux Film Effect . . . . . . . . . . . . . . . . 290

Creating TV Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Creating Clouds and Fog from Photoshop Layers . . . . . . . . . . . . . . . 294

Using Liquify to Move Clouds 296

Adding Mist or Fog to Your Footage 297

Making Smoke: A Real Barnburner . . . . . . . . . . . . . . . . . . . . . . . . . 299

Chapter 16 Motion Titling Effects 305

Titles from Photoshop Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Using 3-D Layers to Simulate 2-D Titling . . . . . . . . . . . . . . . . . . . . . 309

Animating Text Layers in After Effects . . . . . . . . . . . . . . . . . . . . . . . 312

Fly-In Zoom Titling 313

Bouncy 3-D Titles 315

Horizontal Scanning Title 318

What’s the Buzz? 321

Creating Dynamic Lower Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Static Lower-Thirds Graphics 324

Lower-Thirds Multiple Layers in Motion 332

Chapter 17 Custom Scene Transitions 335

Luminance Mattes from Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Painting a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Animating 3-D Layers for a Cube Transition . . . . . . . . . . . . . . . . . . 341

Animating Photoshop Layers for Sophisticated 3-D Transitions . . . . . 344

Appendix Adobe Photoshop and After Effects Resources 353

Third-Party Plug-ins, Stock Imagery, and Footage . . . . . . . . . . . . . . . 354

Technical and Training References . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Organizations 355

Books 355

Index 356

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