Click at the beginning of the downbeat, and then press M to place a marker there. If you click right on the marker, the playhead will snap to it because snapping is enabled. The pasted verse now follows the first verse before going into the bridge. Play the file from the beginning to verify this. You can use a similar concept to shorten music. Note that the intro repeats twice, from 0 seconds to 3. Remember that the marker needs to go at the precise beginning of the beat. A dialog box appears where you can adjust the levels distortion.

If you try to of the copied audio and existing audio. Save this file, and then close it before proceeding. Repeating part of a waveform to create a loop Many elements in music are repetitive.

You can move the region boundaries during playback. If you have a hard time finding good loop points, set a region to start at 7. Now you have a loop you can use in other pieces of music. E Tip: There are several others ways to save an individual selection.

Fading regions to reduce artifacts Audio may have unintended noises, such as hum or hiss, that are masked when audio like narration is playing but are audible when the narration stops. Audition has advanced techniques for removing noise and doing audio restoration, but for simple problems, a fade is often all you need.

You can see the fade attenuating the spike. Use a convex fade for this application. Review answers 1 As soon as you make a selection, a heads-up display opens with a volume control that lets you change level.

Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.

They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. You can add, delete, replace, or reorder effects.

The Effects Rack is the most flexible way of working with effects. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack.

Some effects are available in the Effects menu that are not available in the Effects Rack. If you come up with a particularly useful effects setting, you can save it as a Favorite preset.

The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect.

This lesson initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu.

The final section describes how to work with presets, including Favorites. Using the effects rack For all lessons involving the Effects Rack, it is best to use the Default workspace. Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. You series, meaning that the audio file feeds the first effect input, the first effect output can leave empty inserts feeds the second effect input, the second effect output feeds the third effect input, between effects and and so on until the last effect output goes to your audio interface.

Press the spacebar again to stop playback. Begin playback. The echoes are now in time with the music. Keep this lesson open as you continue. Either of these actions brings the effects window to the front and opens it if it was closed. If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert.

When powered back on, only effects that had been on prior to bypassing return to being on. For example, a fil- ter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level con- trols with associated meters. These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window.

However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes. Reduce the Input level until meter to reset the red distortion indicators.

This will likely require To reset the Input or reducing the Input to dB or so. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other. E Tip: Using the Mix 2 Drag the slider to the right to increase the amount of wet, filtered sound, and slider to blend in more drag to the left to increase the amount of dry, unprocessed sound.

This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version. For this lesson, choose Entire File.

Also note that any changes are still not amplitude and compression effects permanent until you save using either Save or Save As the file. At Amplitude and Compression effects change levels or alter dynamics. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted.

With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually.

They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results. Keep Audition open. Consider two possible applications: converting stereo to mono and reversing the left and right channels.

When bypassed, the stereo image is wider. Now the signal is monaural. Click the L tab and set operation that the the L slider to 0 and the R slider to Now the left channel consists entirely of Channel Mixer preset named All Channels signal from the right channel. Set the L slider to and the R slider to 0. Now the right conversion. When bypassed, the hi-hat is in the left channel. De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.

This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible.

Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz. Dynamics processing With a standard amplifier, the relationship between the input and output is linear. A Dynamics Processor changes the relationship of the output to the input.

This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further.

There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output. But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of out- put dynamic range.

Choose the Default preset, which provides neither compression nor expansion. Click in the middle of segment 1 e. Drag it up a little bit to around dB. Click on the line at dB and dB to create two more squares. Click on the one at dB, and drag it down all the way to dB.

This effect makes the drums sound more percussive. Bypass the dynamics processing, and and effects. By adding Make-Up gain, the documentation for processed signal is now a little bit louder. This is different from simple attenuation which lowers the levels of all signals , because in this example of limiting, levels below dB remain untouched. Levels above dB are compressed with an essentially infinite ratio, so any input level increase produces no output level increase above dB.

This limiter also has an Input Boost parameter, which can make a signal subjec- tively louder. In most cases the default is fine. Past a certain amount of input of thumb is to set it for the most natural sound. With no become unnatural. The level at which this will look-ahead time, the limiter has to react instantly to a transient, which is not occur varies depending possible: It has to know a transient exists before it can decide what to do with it.

With voice, instantaneous. The two most important parameters are Threshold the level above which compression starts to occur and Ratio, which sets the amount of change in the output signal for a given input signal change. For example, with a ratio, a 4dB increase in input level produces a 1dB increase at the output. With an ratio, an 8dB increase in input level produces a 1dB increase at the output. Also, delete any currently loaded effects. This shows how the Threshold and Ratio controls interrelate, and explains why you usually need to go back and forth between these two controls to dial in the right amount of compression.

Slowly increase the Ratio slider by moving it to the right. The farther you move it to the right, the more compressed the sound. Leave the Ratio slider at 10 i. The lower the Threshold, the more compressed the sound; below about dB, with a Ratio of , the sound becomes so compressed as to be unusable. Leave the Threshold slider at dB for now. When you bypass the Single- Band Compressor, note that the meters are more animated and have more pronounced peaks.

The reason is that reducing peaks allows for increasing the overall output gain without exceeding the available headroom or causing distortion. Attack sets a delay before the compression occurs after a signal exceeds the threshold. Allowing a slight Attack time, like the default setting of 10ms, lets through percussive transients up to 10ms in duration before the compression kicks in.

Now set the Attack time to 0. There are no rules about Release time; basically, set it subjectively for the smoothest, most natural sound, which will usually lie between and ms.

You can use the same basic steps as in the previous lesson to explore the Tube-Modeled Compressor. The one obvious difference is that the Tube-Modeled Compressor has two meters: the one on the left shows the input signal level, and the one on the right shows how much the gain is being reduced to provide the specified amount of compression. It divides the frequency spectrum into four bands, each with its own compressor.

Note that each band has an S Solo button, so you can hear what that band alone is doing. This shows how multiband compression can add an element of equalization; the output gain for the two upper bands is considerably higher than the two lower bands.

This is the mirror image of the Enhance Highs preset. The reason is that the highest band has an extremely low threshold of dB, so even low-level, high-frequency sounds are compressed. Speech Volume leveler The Speech Volume Leveler incorporates three processors—leveling, compression, and gating—to even out level variations with narration, as well as reduce back- ground noise with some signals.

As you move the slider to the right, the output will become louder than the input. Choose a value of about 60 for now. The output will peak at around -6dB. Adjust the Target Volume Level until the peaks match the peaks you saw in step 6. The slider should be around dB. There should be fewer volume variations between the soft and loud sections.

To best hear how this works, with the Leveling Amount at the default setting of , select the audio between 2 and 6 seconds, and loop it. Move the Leveling Amount back to 60, and the noise goes away. Observe the meters, and see if further tweaking can help create a more consistent output.

In the reducing the attack and illustration the top waveform is the original file, whereas the lower one has been decay time of the effect processed by the Speech Volume Leveler. Delay and echo effects Adobe Audition has three echo effects with different capabilities. All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time.

This makes it easy to hear single delay. Leave Adobe Audition where the project has a particular tempo. Samples is useful for tuning out short timing differences, because analog Delay you can specify delays Before digital technology, delay used tape or analog delay chip technology. These down to 1 sample at a 44,Hz sample produced a more gritty, colored sound compared to digital delay.

Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control. The Delay slider provides the same function as the Delay effect except that the maximum delay time is 8 seconds. No Feedback a setting of 0 produces a effect. For 4 With feedback at 50, set the Trash control to Vary the loop tempo is feedback, being careful to avoid excessive, runaway feedback.

Keep Audition open for the note is The Lesson04 folder includes a file called Period vs. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one. E Tip: To set both 2 Compared to the previous delay effects, Echo has yet another way of setting the channels to the same echo mix; each channel has an Echo Level control that dials in the echo amount.

Delay Time, enable Lock Left and Right. The Dry signal is fixed. That makes it easier to hear the difference moving a single slider has on the sound.

Now the echoes are brighter. The echoes are now bassy. Filter and eQ effects Equalization is an extremely important effect for adjusting tonality. Adobe Audition has four different equalizer effects, each used for different purposes, that can adjust tonality and solve frequency-response related problems: Parametric Equalizer, Graphic Equalizer, FFT Fast Fourier Transform Filter, and Notch Filter. Parametric equalizer The Parametric Equalizer offers nine stages of equalization.

Each parametric equalization stage has three parameters. The Parametric Equalizer is capable of high amounts of gain at the selected frequencies. Start playback. Each represents a controllable parametric stage. Click one of them e. Drag left to affect lower frequencies or right to affect higher frequencies. Listen to how this changes the sound. The L and H squares control a low shelf and high shelf response, respectively.

This starts boosting or cutting at the selected frequency, but the boost or cut extends outward toward the extremes of the audio spectrum. Note how this increases the treble. Similarly, click on the L box to hear how this affects the low frequencies. There are two additional stages, Highpass and Lowpass, which you enable by clicking on the HP and LP buttons, respectively.

Click those buttons now. A Highpass filter is helpful for removing subsonic very low-frequency energy. Click on the HP box and drag it to the right to hear how it affects low frequencies. Note how this creates a gradual curve. Keep this project open for the next lesson.

The screen shot shows a steep along the bottom of Highpass slope, a slight parametric boost with stage 2, a narrow parametric cut the screen has three additional options. Constant Q, where Q is a ratio compared to frequency, is most common, whereas Constant Width means the Q is the same regardless of frequency.

The Ultra-Quiet option reduces noise and artifacts but requires much more processing power and can usually be left off. Range sets the maximum amount of boost or cut to 30dB or 96dB. The more common option is 30dB. Caution: In the following lesson, keep monitor levels down as you make adjustments. The Graphic Equalizer can produce high amounts of gain at specific frequencies.

Move the various sliders up and down to hear how each affects the timbre through varying the level within their respective frequency bands. In musical terms, each slider is an octave apart. Keep Audition open in preparation for the next lesson. P Note: The strip along the bottom of the Graphic Equalizer screen has three additional parameters. Range sets the maximum available amount of boost or cut up to dB which is a lot!

Accuracy affects low-frequency processing. Otherwise, leave it at the default of points to reduce CPU loading. Master gain compensates for Output level changes caused by using the EQ. Turn it down if you added lots of boosting; turn it up if you used lots of cutting.

To hear how it works, follow the same basic procedure as the lesson for the 10 Bands version. The default settings are a practical point of departure. FFT is a highly efficient algorithm commonly used for frequency analysis. You can then drag this point up, down, or sideways. You are not limited to the number of points you can add, which allows you to make very complex—and even truly bizarre—EQ curves and shapes. The screen shot on the left shows Spline Curves deselected and the original placement of points, whereas the screen shot on the right shows Spline Curves selected.

P Note: As for other FFT Filter parameters, for Scale choose Logarithmic when working primarily with low frequencies because this produces the best resolution for drawing in nodes. Linear has the same advantage at high frequencies. For the Advanced options, for the best accuracy with steep, precise filters, choose higher values like to Lower values produce fewer transients with percussive sounds.

For Window, Hamming and Blackman are the best overall choices. The choices listed first narrow the shape of the response curve with subsequent choices progressively widening the shape. Note the huge amount of hum in the file. Turn off notches 3, 4, 5, and 6. Turn off notches 1 and 2. Experiment with the Gain parameters for notches 1 and 2. These tend to produce very specific sounds, and the presets included with Adobe Audition are a good place to start.

But there will also be some analysis of which parameters are most important for editing. The Chorus effect is optimized for stereo signals, so convert mono signals to stereo for best results. Then click OK. Play the file to hear what it sounds like. Select Highest Quality; most modern computers can provide the additional processing power this option needs.

If the audio crackles or breaks up, deselect this option. Notice how the sound becomes more animated. To make this more obvious, increase the Modulation Rate to 2. Return Modulation Depth to 0. Because this adds a lot more audio, you may need to bring down the Output control in the Effects Rack panel to avoid distortion.

Set it to around 40ms for now. Set it to around ms. Stereo Field makes the output narrower or wider. If you like the sound better, leave them selected. Note that some of the more bizarre sounds combine lots of modulation, feedback, or long delay times. Alter the Feedback setting; more feedback produces a more resonant sound. Stereo Phasing changes the phase relationship of the modulation; when set to 0, the modulation is the same in both channels.

Increase the Phasing amount to offset the modulation in the two channels, which creates more of a stereo effect. Vary the Modulation Rate to change the modulation speed. Experiment with these options. Selecting Inverted changes the tone. The effect varies depending on the other parameter settings. Many of the more radical patches use either high Modulation Rates, large amounts of Feedback, longer Initial or Final Delay Times, or a combination of these.

Speed provides the same function as Modulation Rate. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays. Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect. Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato.

Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains. Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal. Experiment with these parameters to hear how they affect the sound. These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more.

Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two. It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space. The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio.

The trade-off for realism is a lack of flexibility. Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space. All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology.

Each type of reverb is useful. However, it is a CPU-intensive process. Note how each impulse produces a different reverb character. Move the Damping E Tip: You can use LF slider to the left to simulate the effect of a room with lots of sound-absorbing Convolution Reverb to load most WAV files material, which absorbs high frequencies more readily than low frequencies.

Online sources offer free impulses that work with 8 Pre-Delay sets the time before a sound first occurs and when it reflects off a standard convolution surface. Also, you can load phrases, loops, slider to the left to narrow the image.

These can be valuable for sound design and Studio reverb special effects. Many of the Full Reverb and Reverb parameters cannot be adjusted during playback, because they are very CPU-intensive. Drag the minimum, can add a Decay slider all the way to the left, and then vary the Early Reflections slider.

Increasing early reflections creates an effect somewhat like a small acoustic This can make narration space with hard surfaces. Adjust the Width control to set the stereo imaging, from narrow 0 to wide Move the slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound. The difference between damping and High Frequency Cut is that damping applies progressively more high-frequency attenuation the longer a sound decays, whereas the high frequency cut is constant.

Experiment with damping. In general, high-diffusion settings are common with percussive sounds; low-diffusion settings are used with sustaining sounds e. Also, you cannot adjust the reverb characteristics in real time—only when playback is stopped.

You can edit the dry and wet levels at any time. Leave Audition open. Full reverb Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs but also the most impractical to use because of the heavy CPU loading.

No parameters other than the level controls for dry, reverb, and early reflections levels can be adjusted during playback, and even then, the level control settings take several seconds to take effect however, if you stop playback and adjust them, the change occurs immediately on playback.

Also, if you change any of the non-level reverb parameters while stopped, it can take several seconds before playback begins. However, the Early Reflections options are more sophisticated than any of the other reverbs. With playback stopped, turn the Dry and Reverberation Output Level controls to 0 and Early Reflections to so you can easily hear the results of changing the related parameters.

Bigger room sizes create longer reverbs. Dimension sets the ratio of width to depth; values below 0. This sets the time before the coloration EQ takes effect. Set it to 0 as you experiment with the parametric parameters so you can hear the results as quickly as possible. Load various presets to get a sense of the sounds this effect can create, and then return to the Default preset.

Click at the intersection of the two levels on the X and Y axes. Dragging the node to the left also increases distortion by allowing lower levels to distort.

Continue adding and P Note: Regarding moving nodes to hear how this affects the sound. When there are multiple the other Distortion parameters, dB Range nodes, you can smooth the curve that incorporates them by increasing the changes the range Curve Smoothing parameter value. With the graphs unlinked, bring the upper-right square for one of Linear scale changes the calibration; the graphs down to dB.

Leave changes, particularly at lower frequencies. Processing a bass with a hint of when editing. Because guitar is a percussive instrument, many guitar players use compression to even out the dynamic range and produce more sustain.

Fifteen types are available, including a cabinet for bass guitar. E Tip: Many guitar 3 Call up the preset Big and Dumb, which makes a great start for a classic rock sounds use distortion. However, you want to avoid unintentional 4 Vary the Compressor Amount slider.

The sound will be more percussive to the distortion caused by left and more sustained with a slight volume drop to the right. Set the Amount overloading within Audition and use to 70 before proceeding. Try the three different distortion types from the Distortion processor. Guitar Type drop-down menu, and vary the Amount slider. Garage Fuzz is more processors can cause punk, Smooth Overdrive more rock, and Straight Fuzz emulates the sound of a wide level swings, so pay close attention to distortion effect box rather than an amp.

Input and Output controls to make sure 6 That sound seems a little harsh, but you can make it smoother with the filter. Also note that there are six non-amp and special FX sounds. Bypassing the Amplifier emphasizes just how much speakers and cabinets influence the tone. Deselect the Filter bypass check box. Therefore, reducing signal levels due to filtering will result in less distortion. Often, this is the sound you want, but if you feel the overall level is too low, move the Distortion Amount slider to the right to compensate.

For a big, metal sound, set Freq to around Hz and Resonance to 20 to produce a little response peak at that frequency. Turn up Resonance if you really want to go overboard. With Resonance at 0, move the Freq slider across its range.

The peak level will be around 1kHz; moving the Freq slider to either side reduces the level somewhat and also changes the timbre. Load the Big And Dumb preset. Its parameters work similarly to the same parameters in the Parametric Equalizer effect. The Equalizer also includes a real-time graph in the background that shows the current frequency response spectrum. Adds ambience if needed.

Allows for widening or narrowing the stereo image. Is a dynamics processor that increases the average level for a louder sound without exceeding the available headroom. Can be adjusted to control the effect output and therefore compensate for any level changes due to adding various processes. You'll use the Mastering Suite to give greater clarity to a piece of music. Select Low Shelf Enable; a small X appears toward the left, which you click on and drag to change the shelf characteristics.

Resume playback. Then drag down to about A little bit of Exciter effect goes a long way. Drag its slider to the right, and the sound will become way too bright. Because the song is already fairly bright, disable the Exciter effect by dragging its slider all the way to the left.

Note that the sonic difference among the three characters of Retro, Tape, and Tube becomes most noticeable with dull material and high Exciter amounts. However, as with the Exciter, you can have too much of a good widest possible stereo thing. Excessive maximization can lead to ear fatigue, as well as make the music image to create a more dramatic sound. Verified Purchase. This was my first Classroom in a Book, so it was a surprise to realize it will only walk you through a group of projects, but there isn't a lot of WHY and explaining that You would use this tool vs.

Thank goodness for the various kind people who post tutorials on YouTube ShootYourFriends is a great channel. So, this book does walk you through some pretty involved projects step by step, and if you analyze what you are doing, you can learn the concepts.

But the book assumes you have some glancing familiarity with Adobe products already. HOW do you zoom in to see your picture better on the screen? I found one way, but I know someone said there's a short-cut. The book tells you up-front that it's not the definitive guide. I'd like to know what is, though; Adobe's Help files aren't. Still a good product and a lot of good learning. I'm upgrading my review to 4 stars. It does have a lot of good knowledge densely packed in the book.

And by the end of the lessons I feel pretty darn comfortable moving around in AE. Now I just need to put in the playing around time to see what all I can get it to do for me! I know I'll be going back to the book again and again for how it walked us through various effects and I can create from there. A tutorial driven book whereas the student completes 11 lessons total with the end goal of creating an 18 second movie playable for either television or web.

Note: This book is compatible with either the "Macintosh" or Windows" version. These lessons are presented in a procedure-like fashion so ultimately the student learns this program with his or her "hands" rather than by verbal instruction or explanation. Each lesson is thorough and complete in teaching the student how to import various formats, manipulate them, animate, transform and composite them into a coherent animation. Also covered are lens flare effects, text effects, and adjusting live action footage.

Ultimately, this book is quite competent in teaching all of the above in a step-by-step manner. Each lesson takes about a half-hour to an hour to do so if you are motivated you can burn through this entire book in a fast weekend. This was not the case since "After Effects" is quite rich in content and complexity and it requires lots of practice and detail driven tutorials to really grasp this program.

Subsequently, this book provided me with the understanding and tutorials I needed to really learn this program. I am generally a big fan of Adobe's Classroom in a Book series.

These books are usually a good way to get up to speed quickly on Adobe products. With that said, I am rather disappointed in this book, and I abandoned it about one quarter of the way through, in favor of a different book.

It doesn't do Adobe's usual good job of introducing basic tasks and using them to build up to more complex jobs. Instead, the book tries to introduce a lot of program features at once, and it has left me feeling somewhat confused and frustrated. If you already know motion graphics, and are simply learning After Effects, this book may offer an effective means of getting into the swing of things quickly. But I can't recommend it for people like myself, who are learning motion graphics.

Too many details are glossed over, nearly always with the comment that if you want more information, you should consult the After Effects help. Well, if I was going to simply wade through the After Effects help, I wouldn't really need this book, would I? I'd recommend skipping this entry in the series in favor something more comprehensive. Hopefully, Adobe will address the problems with this book in a future edition.

This book series is the way to go! You can seriously be pretty comfortable in After Effects after going through just a few chapters. The only catch is you still have to go through the chapters and put in the work to benefit from the book. Like any Adobe software, learning comes from continuous work in the program and compounds over years as overall experience. This book probably won't make you the world's greatest SFX artist, but it sure is a solid foundation that will give you a strong basic understanding of the software.

I have also tried the books for InDesign, Illustrator, and Photoshop and can say that they are all fantastic. I highly reccomend them, even if you may know other Adobe programs already. Love it. This book is an incredibly weak companion to the sophisticated software it purports to teach.

Each lesson is nothing more than a series of "press this this, type this, click that" instructions with very little explanation of what you're actually doing and why you're doing it. Another puzzling approach is that the steps usually involve the typing of positional and rotational coordinates as opposed to the more intuitive use of visual motion paths to plot the movement of objects. It's like telling you to type in the latitudinal and longitudinal coordinates of Dallas and Houston on a map instead of just connecting them by dragging a line from one to the other.

Press-type-and-click instructions can be very useful to show you how to actually execute the features of an application such as After Effects, but, without some explanation of the "whys," you're learning almost nothing. Rodolfo Reyna. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF.

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Секундой позже произошло столкновение, и Стратмор, сбитый с ног, кубарем покатился по кафельному полу шифровалки. Это был Хейл, примчавшийся на звук пейджера.

Сьюзан услышала стук беретты, выпавшей из руки Стратмора. На мгновение effscts словно приросла к месту, не зная, куда бежать и что делать.

Download file Adobe_After_Effects_Classroom_in_a_Book__replace.me.

She has helped create over thirty books in the Classroom in a Book series over the last two decades including books on Photoshop, After Effects, and Acrobat , going back to her time on-staff at Adobe. She's currently the owner of Darlington Hill Productions which provides production, design, illustration, and writing publishing services. Table of Contents Where are the Lesson Files?

Show More. Related Searches. Each of the 12 lessons View Product. Visual effects and motion graphics pros of all stripes - from broadcast professionals to VFX Visual effects and motion graphics pros of all stripes - from broadcast professionals to VFX supervisors to Web designers who need to produce occasional video segments - will welcome the dramatically accelerated features provided in the brand-new After Effects CS4. Those creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe After Effects The 14 project-based lessons in this book This is the eBook version of the printed book.

Those creative professionals seeking the fastest, Search Engine. Edit and apply effects for stellar visual and special effectsThis important resource is like having a personal instructor guiding you through each lesson, while you work at your own pace. It includes 10 self-paced lessons that let you discover essential skills and explore the new features and capabilities of Adobe After Effects.

Every lesson is presented in full color with step-by-step instructions. Video tutorials and lesson files on a companion DVD were developed by the same team of professional instructors and After Effects experts who have created many of the official training titles for Adobe Systems.

Combines a full-color, step-by-step instructional book along with lesson files and video training from expert instructors Written for After Effects CS6, a leading motion graphics and visual effects program that allows users to create and deliver compelling motion graphics and visual effects Demonstrates how to quickly get up to speed using After Effects to create and animate text, images, and video for the web, TV, and digital displaysAfter Effects CS6 Digital Classroom takes you from the basics through intermediate-level topics, teaching you this complex software in a clear, approachable manner.

DVD and other supplementary materials are not included as part of the e-book file, but are available for download after purchase. So, as far as books There are a lot of random videos out there, and there's also lynda. First, the good: This book is well-written, and the examples are clear. The tutorials are fun and well-paced, also well-explained.

The basics are The problem came in when I started thinking about how well this would all work for someone who was a REAL beginner rather than a past user who just hadn't picked up the new edition for a few years. Because the truth is, the basics aren't really covered, and here's the proof.

It's pages. The Classroom in a Book is pages. Lots and lots and lots of the essentials have been cut out. Look for a list of keyboard shortcuts-- it's not there. Look for the older, much longer chapters going into detail about fundamental concepts like layers and keyframes and editing-- not there. Look for xyzabc etc etc etc In pages, it CAN'T be there.

So why not just go to a source like lynda. I've had that membership for a long time, and I think I might even renew it again. There is no reference manual. And that's what the Classroom in a Book desperately needed to be.

I do not have a lot of patience for going through videos and spending literally ten or twenty times the amount of time I would spend to look up something in a true reference book.

Sometimes, we need specific pieces of information easily and quickly accessible and put together in an understandable way rather than having to sit through several twenty minute videos to try to figure out something very specific that we want to do. The Adobe help and user forums are absolutely not a solution either, which is too bad.

What really needed to happen is for Trish and Chris Meyer to keep coming out with books, whether in print or online format. But I don't think it's enough. I haven't decided yet if I'll be returning this book, but that might happen, even though it isn't exactly bad PROS: Does have some good info Tutorials are well written Does cover some of what you need to know Online version included with the purchase is very nice.

CONS Does not cover the basics very well Does not contain comprehensive information about the nuts and bolts of AE in the way that the Trish and Chris Meyer books did Not a reference book, which it needed to be Not long enough Emphasis on tutorials rather than constructing the "building blocks" of the basic knowledge you need to use AE as a tool.

WAY too expensive for what it is. Overall, this isn't a bad book to have in your library Even though it doesn't have info on the most recent updates, it comprehensively covers the basics, and the new CiaB does not. I've used a few classroom in a book textbooks for my graphic design courses at Arizona State. This book is just terrible compared to the books for InDesign, Photoshop, and Illustrator. This book is full of typos, small dark pictures, and unclear instruction.

I would not suggest getting this if you're a complete newbie to After Effects. If you've managed to mess around with the program and have a good feel for it, I would suggest this book as a guide at best.

However you would probably be better off saving your money and following along with a tutorial found on Google or Pinterest. I don't think you ever work though a complete project. It's very disorganized and jumps around. Like the author was going "oh, let me show you this. There are 2 authors on this book and one of them is very good. The other, not so much. If you are using Ae or later, I'd look for a more current edition or be prepared to debug the lessons.

It might be worth your while as additional learning, but it was frustrating thinking I was doing something wrong without considering the lesson was flawed. They aren't all bad but lesson 13 in particular is bad. I was using Windows and the instructions I assume are for Mac and they didn't verify the lesson for Windows Additionally there are some variables in the other lessons that aren't always correct. All of that being said it is a nice introduction to basic and and advanced features of Ae.

I wouldn't pay more than 5 bucks for a version since the release of Ae I really wish I had taken the bad reviews to heart. It's extremely frustrating, what with the mistakes in the book combined with very tedious and complicated instruction. It became too much to tolerate, even for a patient person, by the fifth chapter and I have, for now, given up on this book. So we got this book and neither of us can put it down so far lol. We are already pretty good with After Effects so we went ahead and read through the first couple of chapters pretty quickly.

However, nothing beats learning the formality of how it all works and really understanding your tools and exactly how capable this software actually is. This book is great for a beginner and an awesome reference for the experienced. Kindle version: Lots of typos. Long captions unnecessarily describe everything in each screenshot.