If you are a videographer and you need to create some special effects, chances are you’re probably already thinking of Adobe’s After Effects. It’s been available for 24 years and under the stewardship of Adobe since 1995. Just like Premiere, it is a powerhouse for videographers and often the only app they need to transform shots, apply effects and create dazzling titles.
So what has the 2017 version of Adobe After Effects CC brought to the table to entice graphic designers to upgrade?
Well, let’s start with the biggest and most important change: the introduction of Lumetri scopes. They reside in the After Effects Color workspace, and you have different waveforms and vector scopes to choose from, depending on the calibration you’re intending to make. It is easily available on A tozfiles software website.
Obviously these tools are designed to help you with color correction, and the Effects Controls grant you access to a Color Correction Lumetri, where all the parameters are at your disposal to create vibrant, color-accurate versions of your original clips.
What’s really important here is that this is all about video, not still images, and color can and does change over time. Which is why these scopes offer real-time feedback (depending on your computer’s processing power). This is a really big step forward because up until recently, no Adobe tool had real-time scopes, but after a careful acquisition, the firm has improved the multi-scope technology it purchased, and moved it across the board, which means it’s also available in Premiere Pro.
Speaking of Premiere Pro, one of the most interesting developments is the Essential Graphics Panel. We explore how you can use and edit Motion Graphics Templates in our review of Premiere, but After Effects is obviously where those templates are actually created. There’s an Essential Graphics Panel here as well which is where you can build those complex template effects.
Setting up a new template is incredibly easy. You can give it a name, set a poster frame, and pick the parameters you wish to add to the list. Any parameter you add via the Supported Properties section will then be modifiable in Premiere Pro. You can change every conceivable parameter in After Effects, but the idea is to give editors a degree of flexibility when using a template in Premiere Pro without overwhelming them with options they don’t actually need. For instance, you can keep the text field editable as well as the color of a lower third’s backdrop, but you can lock its transparency. The advantages are obvious: rather than wondering if it’s worth waiting yet again to tweak a value to get that perfect look, you can now refine your effect with greater precision without having to wait for the render to happen every single time you change a single parameter.