Manual Adobe After Effects CC - 2015 (page 18 of 761) (English)

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Workspace and workflow

Last updated 11/30/2015

If possible, use uncompressed footage or footage encoded with lossless compression. Lossless compression means

better results for many operations, such as keying and motion tracking. Certain kinds of compression—such as the

compression used in DV encoding—are especially bad for color keying, because they discard the subtle differences in

color that you depend on for good bluescreen or greenscreen keying. It’s often best to wait until the final rendering

phase to use compression other than lossless compression. See

Keying introduction and resources.

If possible, use footage with a frame rate that matches that of your output, so that After Effects doesn’t have to use frame

blending or similar methods to fill in missing frames. See

Frame rate.

The kind of work that you’ll be doing in After Effects and the kind of output movie that you want to create can even

influence how you shoot and acquire your footage. For example, if you know that you want to animate using motion

tracking, consider shooting your scene in a manner that optimizes for motion tracking—for example, using tracking

markers. See

Motion tracking workflow.

Also consider shooting at a larger frame size than what you need for final delivery if you want "head-room" for post-

production, whether for fake pans and zooms, or for stabilization.

Project settings

Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the

project, and what sampling rate to use for audio. Of these settings, the color settings are the ones that you need to think

about before you do much work in your project, because they determine how color data is interpreted as you import

footage files, how color calculations are performed as you work, and how color data is converted for final output. See

Color managementand Timecode and time display units .

If you enable color management for your project, the colors that you see are the same colors that your audience will see

when they view the movie that you create.

Note: Click the color depth indicator at the bottom of the Project panel to open the Project Settings dialog box. Alt-click

(Windows) or Option-click (Mac OS) to cycle through color bit depths: 8 bpc, 16 bpc, and 32 bpc. See

Color depth and high

dynamic range color.

Composition settings

After you prepare and import footage items, you use these footage items to create layers in a composition, where you

animate and apply effects. When you create a composition, specify composition settings such as resolution, frame size,

and pixel aspect ratio for your final rendered output. Although you can change composition settings at any time, it’s

best to set them correctly as you create each new composition to avoid unexpected results in your final rendered output.

For example, the composition frame size should be the image size in the playback medium. See

Composition settings.

If you’ll be rendering and exporting a composition to more than one media format, always match the pixel dimensions

for your composition to the largest pixel dimensions used for your output. Later, you can use output modules in the

Render Queue panel to encode and export a separate version of the composition for each format. See

Output modules and

output module settings.

Performance, memory, and storage considerations

If you work with large compositions, make sure that you configure After Effects and your computer to maximize

performance. Complex compositions can require a large amount of memory to render, and the rendered movies can

take a large amount of disk space to store. Before you attempt to render a three-hour movie, make sure that you have

the disk space available to store it. See

Storage requirements for output files .

If your source footage files are on a slow disk drive (or across a slow network connection), then performance will be

poor. When possible, keep the source footage files for your project on a fast local disk drive. Ideally, you’ll have three

drives: one for source footage files, one from which the application runs, and one for rendered output.

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