Mathias Möhl (http://www.mamoworld.com/) has developed an excellent script for AE users: mochaImport. In this video Mathias, teaches how use the script for intermediate composite techniques in After Effects and shows how to recreate an HP commercial look of frozen and unfrozen pictures within a picture frame.

Mathias Möhl (http://www.mamoworld.com/) has developed an excellent script for AE users: mochaImport. In this great video Mathias, teaches how use the script for advanced composite techniques in After Effects. He inserts mechanics into his arm using only planar tracking techniques available in mocha, and 2D elements in After Effects.

Author Rich Harrington examines advanced Chomakeying in Adobe After Effects.

Karl Soule demonstrates a couple different ways to work with and create stereoscopic 3D content inside of Adobe After Effects CS5.5.

In this episode, our four presenters take you through the features of Photoshop, Dreamweaver, Premiere Pro, After Effects, Photoshop, Audition and Flash Professional.

In this episode, Jason Levine covers your favorite features from Premiere Pro, After Effects, Photoshop & Audition CS5.5 for video workflows with animations.

In this episode, our four presenters demonstrate Flash professional, After Effects, Dynamic Link, Dreamweaver, InDesign and Illustrator.

In this episode, Jason Levine showcases Camera Lens Blur, Light Falloff and 3D Camera Rig in After Effects CS5.5, along with the amazing new Warp Stabilizer effect, classic Puppet Tool and Dynamic Link workflow.

In this episode of Short and Suite, Technical Evangelist Karl Soule demonstrates how to use Color Finesse along with Adobe After Effects' built in masking tools to perform secondary color corrections.

Adobe Press and video2brain show you how to use color management to ensure consistent color throughout a project.

Part three on how to hide someone’s face in a video, this time we’re using Adobe After Effects CS5. If you need to obscure an element in a video, like a face or unlicensed product, this episode will demonstrate how it’s done using an adjustment layer and After Effect’s built-in effects.

David Dessel, owner of Metaphor Pictures, LLC, gives an end to end tour of RED editing, VFX, and color grading workflows powered by Adobe Premiere Pro and After Effects.

Learn how to deliver cinematic visual effects and sophisticated motion graphics with Adobe After Effects CS5.5 software, now with sophisticated stabilization, new lens and lighting effects, and the most efficient performance ever.

Apply realistic blurs to perfectly shot footage to create elegant attributes of a soft focus image with the Camera Lens Blur effect in After Effects CS5.5.

In the real world, light intensity diminishes naturally the further lit objects are from the light source. The Light Falloff feature in After Effects CS5.5 gives you the controls you need to simulate natural illumination falloff in a 3D scene—or create other light intensity effects.

Learn how to stabilize hand-held footage to look as if it had been shot with a complicated, expensive camera rig with the new Warp Stabilizer in After Effects CS5.5

Discover all the top new features in Adobe Creative Suite 5.5 Production Premium.

Chris Meyer introduces his favorite new features in After Effects CS5.5 from the perspective of a long-time user and motion graphics artist.

Learn more about the new Warp Stabilizer's Result and Smoothness settings, Stabilization Method, choices for how to treat the borders of an image, and automatic scaling options.

The Warp Stabilizer's ability to automatically distinguish between foreground and background requires user intervention on some shots, such as a greenscreen stage with tracking dots in the background. Learn how to work around these issues.

Chris Meyer gives an overview of the significant updates to 3D space inside After Effects CS5.5, and then explores the creative options provided by the new 3D Light Falloff parameters.

After Effects CS5.5 sports several new tools that automatically sets a 3D camera's depth of field focal plane to align with chosen objects inside your 3D worlds.

After Effects CS5.5 makes it easy to create a 3D Orbit Camera Rig, which simplifies circular animations. Chris Meyer expands on this by demonstrating how to perform smooth crane and zoom moves with this rig as well.

The greatly improved Camera Lens Blur effect in After Effects CS5.5 allows you to add the same advanced iris simulations and highlight enhancements to already-shot 2D footage offered in CS 5.5 by the impressive new 3D camera depth of field.

The Stereo 3D Glasses effect has been updated in After Effects CS5.5, including better convergence and alignment options for correcting problem footage plus a wider range of stereoscopic viewing options. Color balance workflows are also explored.

After Effects CS5.5 includes the long-requested ability to save a project file back to the prior version. Chris Meyer demonstrates how this interacts with the new features added in CS5.5, including the ability to remember CS5.5-specific effects.

Chris Meyer gives his thoughts on the all-important upgrade decision, and explains why he's so fond of the After Effects CS5.5 update.

An oft-overlooked issue in stereoscopic production is how the point of convergence relates to the viewing plane. Chris Meyer demonstrates adding 3D depth of field blur to the equation to create more realistic, easier-to-view scenes.

See how to quickly apply the new Warp Stabilizer to footage for instant gratification, including setting the Smoothness amount as well as choosing between Smooth Motion and No Motion.

Explore the new Warp Stabilizer's advanced settings, including its innovative Synthesize Edges option. In the process, you will learn how to make custom adjustments to compensate for problem footage.

Explore the greatly enhanced 3D Camera Depth of Field options in After Effects CS5.5, including realistic iris simulations as well as the ability to enhance specular highlights.

See how After Effects CS5.5 greatly eases the creation and control of stereoscopic camera rigs for 3D layers. Chris Meyer explains the resulting chain of compositions, including how to preview, where to add stereo footage, and what to render.

Learn how the new stereoscopic 3D camera rig plus resulting chain of compositions in After Effects CS5.5 are manipulated by the Stereo 3D Controls effect, including setting camera separation (inter-axial distance) and the convergence options.

Chris Meyer shows how a visually oriented person can take advantage of the Favorites and Presets in Audition to improve their After Effects soundtracks, from utilities such as Repair DC Offset to creative possibilities such as lo-fi simulations.

Learn the proper workflow for using Audition with After Effects CS5.5 to enhance the sound when audio is already embedded in video sources. Includes a tutorial for using Audition's Dynamics Processing module to improve the loudness of voiceovers.

Chris Meyer reviews existing methods to work on one portion of a chain of compositions while viewing the final result in another, then introduces a new feature in After Effects CS5.5 that simplifies opening a second viewer for side-by-side work.

Review recent enhancements for finding sources, effects, and parameters that may be buried deep inside an After Effects project, including the new-in-CS5.5 "Most Recently Used" search terms - plus the power of "and" versus "or" searches.

As an extension of Adobe's recent focus on metadata and being able to track information throughout a production, After Effects CS5.5 now has the ability to access the Media Start and End times as well as "tape" names for assets that include them.

Gain a better understanding of how After Effects takes advantage of both RAM and disk caching for both individual layers and entire compositions to improve performance and reduce rendering times.

Chris Meyer demonstrates the new 3D Point Control for expressions, plus the ability to tie together effects with complex arbitrary controls. He also lists the additions and enhancements to both expressions and scripting in After Effects CS5.5.

Take full control of After Effects parenting system using regular and alternative parenting to build 3D cubical world. Learn how to jump the child layer to the parent’s position and discover essential keyboard shortcuts to improve your work. You can download the project from: http://www.sternfx.com/down

Watch Steve Forde, Adobe's Product Manager for Adobe After Effects, demonstrate a new way to transform shaky hand-held footage in After Effects.

In part 1 of 2, see how Adobe Media Encoder is becoming easier to use, with numerous user interface improvements for importing assets. Drag-and-drop import from Adobe Premiere Pro and After Effects and an improved watch folder interface make working with AME faster and easier. (by Tim Kurkoski and Todd Kopriva)

In this video Adobe Press and video2brain teach you about codecs and containers and how to determine if your movie files are supported for import by After Effects.

Adobe Press and video2brain teach you about frame rates for footage items, compositions, and rendered movies, and how to modify each kind of frame rate to achieve the desired result.

Learn how to configure After Effects to use RAM and CPUs as appropriate for your computer system, your footage, and your project needs. You'll also see what hardware factors affect performance and what improvements can be made to increase performance.

Adobe Press and video2brain show you how to apply motion tracking data to an adjustment layer and use rotoscoping on that adjustment layer to selectively perform color correction on a moving object.

Colors are represented as red, green, and blue channels, and there's an additional channel that defines transparency – the alpha channel. In this video, you'll see how to control how you view the information about these channels.

Before diving in to the details, you'll want to get a big-picture view of After Effects. In this video, you'll see how the pieces fit together and learn the basic terms that will be used throughout this training.

Watch how Illustrator and After Effects can be used together to create organic animations using simple masks copied and pasted between the two applications. Also see how the Twirl tool in Illustrator can be used to distort paths and make it look as if “tendrils” are growing outward. This all comes together in After Effects by setting the first vertex and ensuring your blended masks don’t flip inside out.

Wish you could render After Effects comps in the background? Wish you could create a watch folder to batch convert media? Wish you had a 64-bit capable application to do all of these things? Well, Adobe Media Encoder is all of that and more. In this episode, Dennis delves into what he thinks are the hidden gems of this under-appreciated application.

In the first part I'll demonstarte how to work with Adobe Illustrator in order to prepare vector graphics so it can be extruded to multiple 3D objects using the BCC EPS Extrude plug-in. Then inside Adobe After Effects I'll show how to dress your logo, work with the various Extrusion options, Materials and Render settings. I'll create a fancy camera moves using the built in camera and lights, and end up rendering 4 different scene.

Motion Graphics is tremendous fun and you never learn enough to satisfy you. But what if you're just getting started? This tutorial gives you some basic ideas on building a simple motion graphics composition - in this case a wedding type theme. Simple, easy and hopefully entertaining.

Learn how to leverage After Effects to create engaging and rich online advertising campaigns. See how PointRoll combines the power of After Effects and the back end of Adobe Flash Professional to create compelling and highly interactive rich media, all within being "in spec" to allow flight across publisher standards. Learn how to optimize your video for web deployment, use best practices, embed metadata/cue points markers for integration with Flash, and even use tracking data from Mocha for After Effects v2 (included with After Effects CS5) to enable dynamic video. To follow along with John, download the assets by clicking on the "Download sample files" button.

Many times, we've seen a photograph brought to life and given movement and depth. How do you do it? With Adobe CS5, some new tools have come around to make this process easier than ever before. Join Dennis as he takes you through the first of two parts in creating an animated clip from a single photograph

Creating a Loop & changing the Animation Speed in After Effects CS5.

Picking up from the last episode, learn how to take your custom DVD menu designed in Adobe Photoshop into Adobe Encore to author it as part of a DVD. Then jump into Adobe After Effects to create an animated menu open that will make your final product pop.

After Effects makes it simple to use text as an outline for a different layer. Karl Soule’ explains how.

It's time to Finish up your project. You'll start by fine tuning your composition using adjustment layers. Then you'll adjust the timing of various transitions to sync better to music. Finally you'll learn how to render out your finished video as a standalone file.

In part 6 of this series, you'll learn how to bring a Photoshop document into Adobe After Effects CS5 and then animate the various layers using rotation key frames to form the final shot for your composition.

Continue your education in Adobe After Effects CS5 by learning how to use masks to reveal different layers of your composition. Also covered is how to duplicate text from another composition so that you can reanimate in different ways.

In this episode, you'll learn how to group animated elements together in Adobe After Effects CS5 to create a unified motion. This process is called Parenting. You'll also learn how to use Null Objects to group motion together.

In part 2 of this series, you'll continue to expand your knowledge of Adobe After Effects CS5 by learning how to fine tune your animation. Learn how to use keyframes as well as spatial and temporal interpolation to allow elements in your motion title sequence to smoothly slide in and out of place.

The best way to learn something is by doing it! In this series you'll learn the basics of compositing and animating in Adobe After Effects CS5 by creating a dynamic motion title sequence. This first episode covers animation terminology, the After Effects workspace, commonly used tools and basic motion.

Join Eran Stern as he walks you through some of the new workflow improvements you'll find in After Effects CS5 and Illustrator CS5.

Learn how to create an animated DVD menu quickly, by using After Effects, Adobe Premiere Pro, and Encore.

Tour Adobe Media Encoder CS5 and learn how to add files to the encoding queue, customize settings, and thin and edit XMP metadata. Learn how to use Adobe Media Encoder with After Effects and Premiere Pro.

Learn how to create and prepare artwork in Illustrator for use in After Effects. Learn how to maximize the quality and flexibility of vector graphics in After Effects.

After Effects ships with more than 200 effects, including effects for color correction, distortion, and even audio adjustments. Search for an effect and drag and drop it onto a layer in the Timeline panel. Adjust effects in the Effect Controls panel.

Learn the advantages of a 64-bit After Effects application, including longer RAM previews and the ability to render larger frames. See how to allocate memory to After Effects and other applications for optimum performance.

Learn how to use the Refine Matte properties in the Roto Brush effect to improve a matte, reduce chatter, remove color spill, and smooth edges.

Learn about Adobe After Effects CS5, the powerful, industry-standard motion graphics, animation, compositing, and visual effects application.

Learn about the After Effects workflow. Import footage into a project. Create layers in a composition by dragging footage into the Timeline panel. Render and export a movie by using the render queue.

The first step in many After Effects workflows is to import footage, whether it's video, still images, or audio. Explore the multiple ways to import files and organize assets in the Project panel.

Join Eran Stern as he shows you some of the workflow improvements in After Effects CS5 and Illustrator CS5.

In this AE Podcast, Eran Stern shows you some of the new improvements to the camera tools and settings in Adobe After Effects CS5.

Watch this fun HP video, developed by Goodby, Silverstein & Partners. Adobe After Effects and PhotoShop were utilized to create animated characters who interact with the real world.

Get an overview of how USC—one of the leading US film schools—is teaching students best practices for animation and production using Adobe Premiere Pro, After Effects, and other Adobe tools.

Learn how to put the new features in After Effects CS5 into action: see how the new Roto Brush, Mocha and and the Mocha Shape plug-in, color LUT support, and more can work in tandem with other CS5 Production Premium tools to transform your podt-production workflows.

Get the most out of your hardware investment: native 64 bit support means After Effects can use all available RAM, so it’s easier to work efficiently on complex HD, 2k, and 4k projects.

Learn how After Effects running natively on 64-bit systems helps you be more productive.

The inclusion of this powerful 2.5D planar motion tracking software from Imagineer Systems was one of the most popular features in After Effects CS4. After Effects CS5 comes bundled with Mocha version 2, which includes important new features.

Isolate moving foreground elements from their backgrounds faster using a revolutionary new approach that works much like the Quick Select tool in Photoshop.

Jim Geduldick, After Effects artist at Offhollywood and leader of the popular AENY user group, shows how the new features in After Effects CS5—as well as new 64-bit plug-ins from The Foundry—are being used in production.