Use your mouse wheel or keyboard to roll through choices easily while keeping your eye on the visuals. Then double-click any preset to instantly apply it. FilmTouch 2 is more than just presets. Each film look is adjustable for strength, gamma and saturationthe most useful trio for common tweaksso you can quickly and easily fine-tune any film look preset to your needs. The PRO version is the best choice for prosumer and professional videographers, indie film makers, and all others who want even more variety and control over their video and film looks. All are organized into sixteen real-world categories: Preserve in Source. Just click it in your preview to preserve it! True Diffusion. Independent blending, blur and glow controls together create extremely realistic and diverse diffusions.
Or use our one-click diffusion presets to instantly apply diffusion to your film look. Unique Vignettes and Frame Edge Effects. Dark lens vignettes, white frame feathering, light leaks, edge defocus effects and more can be instantly added to any film look effect presetand are keyframable for strength, shape, size, position, and softness. You can even select which individual film look qualities to vignette or not. Section Presets. Another Pixelan exclusive! Useful presets per section of controlsnot just overall effect presetsis a HUGE productivity advantage. GREAT technical support. See our user customer service testimonials. Fast, personal, in-house tech support is a key reason why Pixelan is one of the longest-established video effects plugin companies in the world. The MOST value. You mask an object so that other footage can appear within it. See this article to learn more about creating shapes and masks. Export issues Why is my video file so huge?
Why does it play so poorly? When you render and export a movie, the default settings create uncompressed or losslessly compressed files. Such files are huge and intended for post-production work, not playback. For smooth playback on your computer, compress the file. Learn more about encoding and compression options for movies. Why aren't all QuickTime codecs available? QuickTime includes a preference for encoding legacy codecs. If the setting is not enabled, some codecs will not be available in After Effects. What settings do I use to export to YouTube or Vimeo? For more information, see Publish to YouTube and Vimeo. How do I export to H. Use Adobe Media Encoder to export to these formats. For more information, see Create H. How do I create video for Flash Player? Use Adobe Media Encoder to export to H. Adobe continuously aims to keep up with the most modern workflows, support formats, and codecs broadly used across the professional film and video industry.
As a result, Adobe has decided to end support for QuickTime 7 era formats and codecs. Find answers in this article, QuickTime 7 support has ended. Why am I getting a QuickTime error? Problems with QuickTime can have many sources. Find solutions in Troubleshooting QuickTime errors.
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Highly desirable when you want a scene's mood to appear muted, dreamy, historical, or simply beautifully unusual. In the Pro version, you can also add a very realistic diffusion or vignette to any of these looks. Monochrome Presets Monochrome effect presets done right are an art, not just a simple matter of removing color. As a result, shadow areas are not plugged up and bright areas retain full detail. Contrast, brightness, and individual channel values were tweaked extensively to give you a wide range of desirable duotone and monochrome looks. FilmTouch Tutorials and Cool Tips. Learn more about encoding and compression options for movies. Why aren't all QuickTime codecs available? QuickTime includes a preference for encoding legacy codecs.
If the setting is not enabled, some codecs will not be available in After Effects. What settings do I use to export to YouTube or Vimeo? For more information, see Publish to YouTube and Vimeo. How do I export to H. Use Adobe Media Encoder to export to these formats. For more information, see Create H. How do I create video for Flash Player? Use Adobe Media Encoder to export to H. Adobe continuously aims to keep up with the most modern workflows, support formats, and codecs broadly used across the professional film and video industry. You may need to adjust keyframe locations after conforming a footage item. You can change the frame rate for any movie or sequence of still images. For example, you can import a sequence of ten still images and specify a frame rate for that footage item of 5 frames per second fps ; this sequence would then have a duration of two seconds when used in a composition. When you import a sequence of still images, it assumes the frame rate specified by the Sequence Footage preference in the Import category.
The default rate is 30 frames per second fps. You can change the frame rate after importing by reinterpreting the footage item. See Interpret footage items. Lower frame rates tend to give the impression of unreality, so many people prefer to work at a lower frame rate such as 24 frames per second for creative work instead of working at the 29. If you remove 3: When removing 3: The frame rate of the composition should match the frame rate of the final output format. In most cases, you can simply choose a composition settings preset. In contrast, set the frame rate for each footage item to the frame rate of the original source footage. Trish and Chris Meyer provide tips and tricks regarding conforming footage items to a specific frame rate in an article PDF on Artbeats website. Change frame rate for a footage item Select the footage item in the Project panel. For example, time-stretch a layer by 100. Time-stretching modifies the speed of audio as well as video.
Do one of the following: Choose a composition settings preset from the Preset menu. Set the Frame Rate value. Jeff Almasol provides a script on is redefinery website to set the frame rate and duration of the current composition and all compositions nested within it. Pixel aspect ratio and frame aspect ratio Pixel aspect ratio PAR is the ratio of width to height of one pixel in an image. Frame aspect ratio sometimes called image aspect ratio or IAR is the ratio of width to height of the image frame. Some video formats output the same frame aspect ratio but use a different pixel aspect ratio. For example, some NTSC digitizers produce a 4: D1 NTSC produces the same 4: D1 pixels, which are always nonsquare, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video.
If you display nonsquare pixels on a square-pixel monitor without alteration, images and motion appear distorted; for example, circles distort into ellipses. However, when displayed on a video monitor, the images are correct. D1 PAL footage looks slightly narrower. Widescreen video formats have a frame aspect ratio of 16: To preview non-square pixels on a computer monitor, click the Toggle Pixel Aspect Ratio Correction button at the bottom of the Composition panel. The quality of the pixel aspect ratio correction for previews is affected by the Zoom Quality preference in the Previews category.
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