after effects and combustion

8/7/2019 After Effects and Combustion

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SFX & VFX

1. What is mean by Compositing ? Where it can be applicable ?

(5)ANS:

1. It is the seamless amount of layers that contains still Images, Videos that

merged one after the other in a layer sequence so that the final outputobtained is layer integrated final composite.

Compositing is of 2 types

1) 3d Compositing

2) Film Compositing

3d Compositing: It involves in a world of Broadcast design andadvertising field.

Film Compositing: It involves in the world of Feature film works.

Compositing can be applicable in mostly in Broadcast and films it related to Keyframeanimation,Animated Tile Designing, Color Correction, Matting, Keying, Tracking and

so on.

2. How to import Photoshop layers in After Effects ?

(5)

Ans:

Generally Photoshop Files are having multi layered files so that we cant

directly import the Photoshop file in After Effects. If we are importing multi layeredPhotoshop file the option are

1) Merged

2) Individual

3) Composition cropped layers

Merged:It takes all the layers in Photoshop file as a single file

Individual: It takes all the individual layers of Photoshop files as separate layersin the timeline.

Composition Cropped Layers:


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It takes all the layers of the Photoshop file as a composition size in After Effects.

3. How to animate the Motion Key frames in After Effects ?

(5)

ANS :

By Moving one point to other it creates the motion pathDistance is equals to speed over time it means in after effects it consider as feets

per sec.

When you want to create the motion path and to get very precise animation, Aftereffects provide automate time adjustment in the timeline.

Auto orientation: The object automatically moves along the pathShft key: Transform Auto orient

To get smooth animation after effects provide with inbuilt Plugin called key frameassitant in that it is having 3 options

1) Easy ease (Equals the speed)2) Easy in (High speed curve to slow motion)

3) Easy out (Slow motion to high speed)

Toggle hold frame it creates the frame hold between every single frame (Strobe

effect)

5. Explain about the Paint in After Effects.

(5)

ANS:

Paint is a vector based object, they are paint stokes that are created in aftereffects unlike they are not the bitmap objects.

Paint can be highlighted by double clicking on the layer in the timeline.

Paint is having 3 options :1) constant

2) write on3) single frame

constant: It creates a paint stoke all along the path in the timeline. And in that paint

stoke can be animatable.

write on: It creates a write on when the paint stoke is made. It automaticallygenerates a key frame from starting point and ending point.

Single frame: It creates a single paint stoke per frame.


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Other option tools for Paint are1) Cloning

2) Eraser

Cloning : It creates a duplicate paint stroke what you have selected on the originalObject. It clone the layer

Eraser: It erases the paint object or erases directly on the footage that means in that

erased portion it gives alpha portion.

6. Explain about the Graph Editor?

Ans

To view and manipulate all aspects of effects and animations, including effectproperty values, key frames, and interpolation, use the Graph Editor. The

Graph Editor represents changes in effects and animations as a two-dimensional graph, with playback time represented horizontally (from left to

right). In layer bar mode, on the other hand, the time graph represents onlythe horizontal time element, without showing a visual representation of

changing values.There are two types of graphs available in the Graph Editor: value graphs,

which show property values; and speed graphs, which show rates of change ofproperty values.

Click the Graph Options button at the bottom of the Graph Editor, and select

from the following options:Auto-Select Graph Type Automatically selects the appropriate graph type for a

property: speed graphs for spatial properties (such as position), and value

graphs for other properties.Edit Value Graph Displays the value graph for all properties.

Edit Speed Graph Displays the speed graph for all properties.

Show Reference Graph Displays the unselected graph type in the backgroundfor viewing only. (The gray numbers to the right of the Graph Editor indicate

the values for the reference graph.)


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Show Audio Waveforms Displays the audio waveform for any layer that has atleast one property in the Graph Editor.

Show Layer In/Out Points Displays In and Out points of all layers that have aproperty in the Graph Editor.

Show Layer Markers Displays layer-time markers in the Graph Editor, if theyexist.

Show Graph Tool Tips Toggles the graph tool tips on and off.Show Expression Editor Shows or hides the expression editor field.Allow Keyframes Between Frames Allows placement of keyframes between

frames for fine-tuning animation.

Using the Snap button

When you drag a keyframe in the Graph editor with the Snap button toggled,the keyframe snaps to the following items:

Keyframes (both vertically and horizontally)Current-time indicator

In/Out pointsMarkers

Work area start/end

Composition start/endAuto Zoom Height Toggles Auto Zoom Height mode, which automatically scalesthe height of the graph so that it fits the height of the Graph Editor. The

horizontal zoom must still be adjusted manually.Fit Selection Adjusts the value (vertical) and time (horizontal) scale of the

graph to fit the selected keyframes in the Graph Editor.Fit All Adjusts the value (vertical) and time (horizontal) scale of the graph to fit

all of the graphs in the Graph Editor.

7. Explain about the various Matte techniques in After Effects ?

(5)

ANS:

Matte is an alpha sequence having white channel for opacity (opaque) and black or

gray channels for transparency.If we set the matte for any particular layer it takes the pixels of the matte to the

layer but not the position data.

Mattes are also special kind of masks that can be applies to any particular layer.

Alpha mattes: It takes alpha portion of the image or channels if it is having alphachannel.

Luma matte: It takes the gray scale value in the layer (Black and white pixels)

Stencil : It takes off the full transparency of one layer and composite into other

layer.Track mattes: It takes luminance value channel matte and fits on the original

composite layer.

Sht keys: ctrl (alpha matte)+drag on the original layer


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8. Explain about the Tool Palette?

Ans

Tool panelA. Selection B. Hand C. Zoom D. Rotation E. Orbit Camera, Track XY Camera,

Track Z Camera F. Pan Behind G. Rectangular Mask, Elliptical Mask H. Pen,Add Vertex, Delete Vertex, Convert Vertex I. Horizontal Type, Vertical Type

J. Brush K. Clone Stamp L. Eraser M. Axis Mode buttons

9. Explain about the 3:2 pulldown ratios? Where it can be applied?(5)

ANS:

When you transfer 24-fps film to 29.97-fps (NTSC) video, you use aprocess called 3:2 pull down, in which the film frames are distributed across

video fields in a repeating 3:2 pattern. The first frame of film is copied tofields 1 and 2 of the first frame of video, and also to field 1 of the second

video frame. The second frame of film is then spread across the next two

fields of video--field 2 of the second video frame and field 1 of the third frameof video. This 3:2 pattern is repeated until four frames of film are spread over

five frames of video, and it is then repeated.

The 3:2 pulldown process results in whole frames (represented by a W) and

split-fieldframes (represented by an S). The three whole video framescontain two fields from the same film frame. The remaining two split-fieldframes contain a video frame from two different film frames. The two split-

field frames are always adjacent to each other. The phase of 3:2 pulldown

refers to the point at which the two split-field frames fall within the first fiveframes of the footage.

Phase occurs as a result of two conversions that happen during 3:2 pulldown:

24-fps film is redistributed through 30-fps video, so each of four frames of24-fps film is spread out over five frames of 30(29.97)-fps video. First, the

film is slowed down 0.1% to match the speed difference between 29.97 fpsand 30 fps. Next, each film frame is repeated in a special pattern and mated

to fields of video.


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When you apply 3:2 pulldown to footage, one frame of the film (A) is

separated into two or three interlaced video fields (B), which are grouped intovideo frames containing two fields each.

10.Explain how to apply Animation Presets for the footages?

Ans

To apply an animation presetSelect one or more layers.

Do one of the following:Select the animation preset in the Effects & Presets panel, and then drag the

preset to the selected layer in the Timeline, Composition, or Effect Controlspanel.

To apply a recently used or saved animation preset, choose Animation > Recent

Animation Presets, and then choose the animation preset from the list.To apply selected effects from within an animation preset, press Ctrl (Windows)

or Command (Mac OS), select the effects in Effects & Presets, and then dragthem to the Timeline, Composition, or Effect Controls panel. If the individual

effects and properties within an animation preset do not appear, choose Show

Preset Contents from the Effects & Presets panel menu.Choose Animation > Browse Presets, navigate to the animation preset you

want, and then double-click the animation preset to apply it to the selectedlayer.

Make sure that Show Animation Presets and Show Preset Contents are selectedin the Effects & Presets panel menu.

Expand the preset in the Effects & Presets panel.Do one of the following:

Select the layer in which you want to use the preset component, and double-click the property you want to apply.

Drag the property to a layer in the Composition panel or Timeline panel.

Saving animation presetsYou can save settings of one or more effects as an animation preset. Saving an

effect as an animation preset also saves any set keyframes, as well asexpressions used in the effect. For example, if you created an explosion using

several effects with complex parameter and animation settings within those


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effects, you can save all those settings as a single animation preset. You canthen apply that animation preset to any other footage, or you can apply any

single effect from that animation preset to any footage. The 20 most recentlysaved or applied animation presets appear under Recent Animation Presets in

the Animation menu.Animation presets also appear in the Animation Presets menu in Effect Controls

and in Effects & Presets. The Animation Presets menu in the Effect Controlspanel lists only those animation presets that contain the current effect. Forexample, if the Mirror effect is selected, the menu will show only those presets

that include the Mirror effect. If the Animation Presets category in Effects &

Presets does not appear, choose the Show Animation Presets option from theEffects & Presets panel menu.

Note: When you apply an effect from the Animation Presets pop-up menu, onlythe current effect from the animation preset is applied.

11.Explain about the 3D-Transformation controls in After Effects ?(5)

ANS:

After Effects can display layers in two dimensions (x, y) or three dimensions

(x, y, z). When you specify a layer as three-dimensional (3D), After Effectsadds the zaxis, which provides control over the layer's depth. As you increase

the z value, the layer moves farther away in space; as you decrease it, thelayer moves closer. Using three dimensions lets you create layers that more

realistically reflect light, cast shadows, and move through space.

You can specify any layer, except an adjustment layer, as 3D. You can also

create and animate camera and light layers to view or illuminate 3D layersfrom any angle. Though you can import composited files with 3D information

into After Effects, you cannot manipulate the objects of those files nor canyou create models within the program.

Usually, scaling a layer's zaxis has no effect on the layer because the layeritself has no depth. To add depth, you can change the position of the layer's

anchor point or establish a parenting relationship with other layers. Once youadd depth, scaling the layer's z Scale value appears to change the layer's

position.

12.Explain about the lighting and light controls in After Effects ?(5)

ANS:


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Lights are layers that shine light on other layers.You can choose among four differenttypes of lights and modify them with varying settings. Lights, by default, point to the

point of interest. For information on the point of interest.

You can specify which 3D layers a light affects by designating the light as an

adjustment layer--place the light in the Timeline window above the layers on which

you want it to shine. Layers that are above a light adjustment layer in the Timelinewindow do not receive the light, regardless of the light's position. 3D adjustmentlayers have a subtle effect. You can rotate them and work with them in 3D, but they

do not allow 3D layers lower in the Timeline window to intersect.

To create a new light:

1. From the Timeline or Composition window, choose Layer > New >Light.

2. In the Light Settings dialog box, specify any of the following settings:

Light Type

Parallel light rays emanate directional, unconstrained light from an infinitely

distant source. A Spot light emits light from a source that is constrained by acone, like the spotlight used in stage productions. A Point light emitsunconstrained omnidirectional light, like the rays emitted from a bare light

bulb. Ambient light has no source but rather contributes to the overallbrightness of a scene and casts no shadows.

Intensity

Sets the brightness of the light. Negative values create nonlight. Nonlight

subtracts color from a layer. For example, if a layer is already lit, creating adirectional light also pointing at that layer and employing negative values

creates an area of negative light, or a dark area, on the layer.

Cone Angle

Sets the width of the Spot light by adjusting the angle of the conesurrounding the source. This option is active only if Spot is the Light Type.

Cone Feather

Adjusts the edge softness of the Spot light. This option is active only if Spot is

the Light Type.

Color

Sets the color of the light.

Casts Shadows

Indicates whether the light source causes a layer to cast a shadow.

Shadow Darkness

Sets the darkness level of the shadow. This option is active only if CastsShadows is selected.

Shadow Diffusion


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Sets the softness of a shadow based on its apparent distance from the shadowing

layer. Larger values create softer shadows. This option is active only if Casts

Shadows is selected.

13.Explain about Time steching in After Effects ?

(5)

ANS:

When you time-stretch a layer, the audio file or the original frames in the

footage (and all keyframes that belong to the layer) are redistributed alongthe new duration. Use this command only when you want the layer and all

layer keyframes to change to the new duration.

If you time-stretch a layer so that the resulting frame rate is significantly

different from the original speed, the quality of motion within the layer maysuffer. Turn on frame blending to improve slow-motion or fast-motion effects.

To time-stretch a layer from a specific time:

In the Timeline or Composition Window, select the Layer

1) Choose layer>Time remap

2) Type a new duration of a layer or type a strech factor

3) Click one of the Hold In Place options to specify the point in time from

which the layer will be time-stretched, and then click OK

a. Layer In-point holds the layer's current starting time, and time-stretches the layer by moving the Out point.

b. Current Frame holds the layer at the position of the current-time

indicator (also the frame displayed in the Composition window),and time-stretches the layer by moving the In and Out points.

c. Layer Out-point holds the layer's current ending time and time-

stretches the layer by moving the In point.

To time-stretch a layer to a specific time:

1) In the Timeline window, move the current-time indicator to the

frame where you want the layer to begin or end.

2) Display the In and Out columns in the Timeline window by choosing

Columns > In and Columns > Out from the Timeline window menu.

3) To stretch the In point to the current time, press Ctrl (Windows) or

Command (Mac OS) as you click the In time for the layer in the Incolumn

4) To stretch the Out point to the current time, press Ctrl (Windows) orCommand (Mac OS) as you click the Out time for the layer in the Out

column.


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___________________________________________________________________

14.What are Expressions ? How they are created and useful in AfterEffects ?

(5)

ANS:

When you want to create a complex animation, such as car wheels spinning,but would like to avoid creating tens or hundreds of keyframes by hand, try

using expressions instead. With expressions, you can create relationshipsbetween layer properties and use one property's keyframes to dynamically

animate another layer. For example, if you set rotation keyframes for a layerand then apply the Drop Shadow effect, you can use an expression to link the

Rotation property's values with the Drop Shadow's Direction values; that way,the drop shadow changes accordingly as the layer rotates.

Expressions can seem intimidating for those who aren't familiar with scriptingor JavaScript. Fortunately, After Effects makes expressions easy to use and

easy to learn through the expression pick whip . The pick whip is a tool inthe Timeline window that you can drag to connect any two properties. Once

you drag the pick whip to a particular property, the expression automaticallyappears in the expression field in the Timeline window. You can easily learn

the syntax and format for expressions by looking at the expressions that thepick whip creates.

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15. Explain about the Time Remapping ?

(5)

ANS:

In After Effects you can easily expand, compress, play backward, or freeze aportion of a layer's duration using a process known as time-remapping. Forexample, if you are using footage of a person walking, you can play footage

of the person moving forward, and then play a few frames backwards tomake the person retreat, and then play forward again to have the person

resume walking.

You can also time-remap layers containing audio or both audio and video.When you apply time-remap to a layer containing audio and video, the audio

and video remain synchronized. You can remap audio files to graduallydecrease or increase the pitch, play audio backwards, or create a warbled or

scratchy sound.

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16.Explain about the color correction in After Effects ?

ANS:

Fine tunes the colors in regions that have changed in a color image. Forexample, if you increase the Shadows Amount value, you bring out colors that

were dark in the original image. You may want these colors to be more or less


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vivid. Adjust the Color Correction slider to give the best results. In general,increasing values tend to produce more saturated colors, and decreasing

values produce less saturated colors.

Note: Since the Color Correction value affects only changed portions of the

image, the amount of color variation depends on how much or little Shadows

Amount or Highlights Amount is applied. The greater the correction to theshadows and highlights, the greater the range of color correction available.The Color Correction value applies subtle control over the darkened or

lightened colors in the image. If you want to change the color hues orsaturation over the whole image, use the Hue/Saturation effect after applying

the Shadow/Highlight effect.

Midtone Contrast

Adjusts the contrast in the midtones. A negative value reduces contrast, anda positive value increases contrast. An increase in Midtone Contrast

adjustment produces greater contrast in the midtones while tending to darkenthe shadows and lighten the highlights.

Black Clip and White Clip

Specify how much of the shadows and highlights are clipped to the new

extreme shadow (level 0) and highlight (level 255) colors in the image. Largervalues produce an image with greater contrast. Be careful of setting the

clipping values too large, as this reduces detail in the shadows or highlights

as the intensity values get clipped and sent to pure black or white.

14.) Explain about the Keying Techniques in AfterEffects(5)

ANS:

After Effects includes several different effects that key out, or make

transparent, parts of an image. Each effect is called a key, and the colorspecified for transparency is called the key color. A key locates pixels in an

image that match the specified key color and makes them transparent orsemitransparent, depending on the type of key. When you place a layer over

another layer using transparency, the result forms a composite, in which thebackground is visible wherever the first layer is transparent, making the first

layer appear to be part of the background. After Effects various keyingtechniques in that

1) Color Key : It extractes the alpha matte from any given colour i.e Red,Green, Blue or any other colour.

2) Extract : It extractes the luminance value in the footage and generatesthe matte

3) Linear key : This key is based on Blue screen and Green screentechniques.


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4) Luma Key : This key is based on the luminance value.(Black and whitepixels)

5) Inner,outer key : This keying is based upon the masking techniques .Thiskey effect is only applicable when there is two masks inside and outside

should be there for the footage.

6) Spill suppresser : It generally based on the reflected colour i.e blue or

green colour that falls on the body. It removes the spill colour.

_______________________________________________________________

15. Explain about the Tracking concepts in After Effects ?

ANS:

After Effects' motion tracking feature lets you easily create composites anddynamic visual effects regardless of whether the subjects or the camera (or

both) are moving. After Effects can follow or track the movement of a specifiedarea in a shot and then apply that movement to an effect, image, or other

footage. The resulting visual effect precisely matches the original movingfootage

Motion tracking has multiple uses:

Combining elements filmed separately, such as adding video footageto the side of a city bus or a star to the end of a sweeping wand.

Animating a still image to match the motion of action footage, such as

making a cartoon bumblebee pursue a swaying flower.

Adding effects that follow a moving element, such as applying a lensflare to a scene where the camera pans or making a ball glow.

Stabilizing footage, such as smoothing the wobble of footage shot with

a handheld camera.

Feature region

The feature region defines the area in the moving footage to be tracked. It

should surround a distinct feature. After Effects must be able to clearly

identify the feature throughout the footage, despite changes in light,background, and angle.

Search region

The search region limits the area that After Effects must search to locate the

feature. The feature needs to stand out only within the boundary of thesearch region, not within the entire frame. Confining the search to a small

region saves search time and makes the search process easier.

Attach point

The attach point designates the place of attachment for the target footage--the layer, image, or effect that you want to synchronize with the motion

footage.


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______________________________________________________________________

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16. What is Masking ? How to create masking in After Effects ?

(5)

ANS:

Masking

Specifies the pixels you want to change using the luminance or alpha channel

of another layer. Mask Layer specifies the layer you want to use for yourmask. Masking Mode specifies the Mask Layer property to use.

Use the RotoBezier option in the Tools palette to create curved masks more

quickly. The RotoBezier option automatically calculates the curved segmentsfor you, thereby eliminating the need for direction lines.

You can convert any existing mask to a RotoBezier mask. However, Bezier

masks that have adjusted direction lines change shape when converted toRotoBezier because After Effects calculates RotoBezier segments

automatically. You can convert RotoBezier masks to Bezier without affectingthe mask shape.

To create a RotoBezier mask:

1. In the Tools palette, select the pen tool, and then click the RotoBezier option.

2. In the Composition window, click to create a mask shape.

To convert a mask to a RotoBezier mask:

1. Select a mask in the Layer or Composition window.

2. Choose Layer > Mask > RotoBezier.

To change smooth corners to sharp corners using the RotoBezier mask option:

With the pen tool selected, Alt-click (Windows) or Option-click (Mac OS) an

existing vertex.

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17. How do you explain about the interlaced footage in After Effects ?

ANS:

Another way to classify analog or digital footage is as interlacedor

noninterlaced. Currently, most broadcast video is interlaced; each frameconsists of two fields displayed in turn. The computer operating system and

After Effects display noninterlaced video, also known as progressive scan, inwhich each frame is displayed completely from top to bottom. When you

finish creating a movie for display on a television, After Effects can render itback to fields, maintaining high quality for broadcast display.

Interlaced video consists of two fields, known either as Field 1 and Field 2,even and odd, or (as After Effects refers to them) upper and lower. When

these fields are presented sequentially on an NTSC or PAL video monitor, theycreate a smooth, unified picture.

In interlaced video, a frame is divided into two fields. Each field containsevery other horizontal line in the frame. A TV displays the first field of

alternating lines over the entire screen, and then displays the second field tofill in the alternating gaps left by the first field. One NTSC video frame,

displayed for approximately 1/30 of a second, contains two interlaced fields,

To separate video fields in imported footage:

1. Select the footage item in the Project window.

2. Choose File > Interpret Footage > Main.

3. Choose an option from the Separate Fields pop-up menu.

4. Click Motion Detect (Best Quality Only) to increase image quality in

nonmoving areas when the image is rendered at Best quality. Then click OK.

________________________________________________________________

18. Explain about the Precomposing in After Effects ?(5)

ANS:

Precomposing is an easier way to nest layers within an existingcomposition. Precomposing moves the layers to a new composition. When you

want to change the order in which layer components are rendered,precomposing is a quick way to create intermediate levels of nesting in an

existing hierarchy.

When you precompose, one or more layers that you select move into a new

composition. This new composition takes the place of the selected layers--something that does not occur in ordinary nesting. Precomposing also places


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the new composition in the Project window, available for use in anycomposition.

After Effects offers two options for working with layer properties andkeyframes during precomposing:

To precompose one or more layers:

1. In the Timeline window containing the layers you want to precompose,

select the layers.2. Choose Layer > Pre-compose.

3. Select Leave All Attributes In or Move All Attributes into the NewComposition, and then click OK.

_____________________________________________________________________

19. Explain about the Effects controls in After Effects ?(5)

ANS:

When you apply an effect to a layer, the Effect Controls window opens;the effect is listed there. Each layer to which you apply effects appears on its

own tab in the Effect Controls window. The effect is also listed in the Effectssection under the layer name in the Timeline window. If you apply additional

effects to the layer, they are listed under the first effect in the Timelinewindow. Effects are rendered in order from top to bottom in this list. You

change the order in which effects are rendered by dragging the effect name

to a new position in the list.

To apply an effect to a layer from the Effects palette:

1. Locate and select the effect or effects you want to apply.

2. Double-click the selected effect or effects.3. Drag the effect to the target layer on the Timeline window, either to

the layer name, Effect list heading, or to any spot in the existing list ofeffects.

4. Drag the effect to the Composition window. The Info palette displaysthe name of the targeted layer as you drag over it.

5. Drag the effect to the Effect Controls window.

To copy effects in a layer and paste them into other layers:

1. In the Effect Controls window, select one or more effects, and thenchoose Edit > Copy.

2. In the Timeline window, select one or more layers, and then chooseEdit > Paste.

________________________________________________________________

20. What are the Rendering Techniques that can be applied inAfter Effects ?

ANS:

When you create output, the layers of a composition and each layer's masks,


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effects, and properties are rendered frame by frame into one or more outputfiles or, in the case of a sequence, into a series of consecutive files.

After Effects provides a variety of formats and compression types forrendering output; the format you choose depends on the medium from which

you'll play your final output or on the requirements of your hardware, such as

a video-editing system.

To make a movie from a Composition :

1) Click on the Ram Preview>the movie will be cached into the ram

2) Goto composition >save Rampreview (This will be the rampreview)

3) Goto composition>Make Movie(This will rendered as a movie)

4) Goto composition> Add to Render Queue (This will rendered the moviein several different formats)

21.What is Combustion ? Explain about its features ?

(5)

ANS:

combustion 4 is the Discreet stand-alone powerful desktop solution for creating

stunning visual effects. It is a resolution-independent, vector paint, animation,editing, and 2D/3D compositing software application for multi-format work, from the

web to video and HDTV to feature filmCombustion is a layer based compositing software package,It is having well

structured gui inteface so that the new user can able to handle the tools in a easy

manner.Most probably combustion is used in Broadcasting and Feature films.

Is is having highend Paint tools and Masking tools.

It is having individual particle generator engine so that the users can able togenerate any kind of particle effects in real time.

It is having separate keying module .Colour Correction tools in combustion provides users to control the rich

colorcorrection from Broadcast to Highend Feature films.It provides the various colour spaces including the Linear and the Logarithmetic

colour spaces for conversation of tape to video.____________________________________________________________

22. Explain about the Interface and Workflow in Combustion ?

(5)

ANS:

The main elements of the combustion user interface are the Workspace panel,

Schematic view, Timeline, operator controls panel, Toolbar, and viewports.


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You display and interact with operators in viewports. For example, you can show acomposite and move layers, or you can show a Paint operator and move objects

(shapes, masks, text). A viewport can also show the Schematic view.

Use the viewports to display operators at any point in the process tree, and to play

clips in real time. As you work on projects, the results of your changes dynamically

update in the viewport.

The Schematic view, Workspace panel, and Timeline offer different ways to see theprocess tree. Changes in one are reflected in the others. Use the Timeline to animate

your projects over time.

You can select an operator to set its parameters in the operator controls panel. This

panel and the Timeline are context sensitive, so they show parameters for theselected operator. For example, when you select the Composite operator or one of its

layers in the Workspace panel, the Composite Controls panel appears.The Toolbar shows the tools that you use as you work with operators. The Toolbar is

also context sensitive; it shows the tools for the current operator.

When you first start combustion, all the interface elements appear in their default

positions. You can choose which to display and you can choose to customize theirpositions. Changes you make to the interface settings in the combustion

preferences are kept and saved the next time you launch the application.

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23. How to apply operators in workspace in combustion ?

(5)

ANS:

An operator modifies a layer or a composite. For instance, you can use a

Keyer operator to key out a portion of a layer, and then use a Color Corrector

operator to color match thelayer to the background.

Applying an Operator to a Layer

You can add operators to any layer in the workspace.

To apply an operator to a layer:

1. Double-click a composite to make it current.

2. In the current composite, select a layer.

3. From the Operators menu, choose an operator.

The operator controls appear. The operator is applied to the selected layerover its entire duration.

4. Adjust the operator controls.


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24. How to do the keyframe animation in after effects ?

(5)

ANS:

Keyframing

You can animate a layer by setting at least two keyframes for the layer's categoriesat different times. A keyframe is a point in time that records any change to a layer in

your workspace.

Before you can create keyframes, you have to enable the Animate button.To animate a layer using keyframes:

1. To the right of the Playback controls, enable the Animate button (A).

2. Select a layer (for instance, we select the Vanes layer from theillustration above to rotate the windmill's vanes).

3. Press the Home key to move to the first frame of the animation.

4. Use the Transform controls to set a rotation category at the first frame

of the animation. For instance, set the Z Rotation to 130.

5. Click the Timeline tab, expand the layer that you want to animate, and

then expand the Transformation category.

____________________________________________________________________

25. How to do the Motion Path Animation in Combustion ?

(5)

Ans

To create a motion path for a layer in a composite:

1. In the Workspace panel, select the layer you want to animate.

2. Use the playback controls to move to the first frame (or press Home).

The motion path starts here.

3. Enable the Animate button (A).

4. In the active viewport, drag the selected layer to its starting position.


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5. Use the playback controls to move to the frame where you want tocreate a second keyframe.

6. Drag the layer to its new location (you can also rotate, scale, or adjustany other channel).

A keyframe is created, and the layer's motion path appears.7. To change the shape of the motion path between keyframes, drag the

tangent handles at a keyframe.

8. You can also adjust the speed along the motion path using the Speed

channel.

26.Explain about the Expressions in Combustion

(5)

ANS:

You can also animate an object by adding an expression to its channels. Youcan either add an expression to a channel based on the channel's value, add an

expression to a channel to link its value to the target channel, add a predefinedexpression, or write your own expression. For those who are not very familiar with

JavaScript, you can use the Expression Browser to add a predefined expression. Forthose who are familiar with JavaScript, you can use the Multi-line Editor to write your

own expression.

To add an expression to a channel:

Do one of the following:

In the Timeline, right-click (Windows) or control-click (Macintosh) a

channel and choose Add Expression.

An expression is added to the channel based on the channel's value.

The Multi-line Editor is displayed and the expression script is selected.

In the Timeline, select a channel, click Link (/) to create an absolutepath or Link (..) to create a relative path, and then select another

channel.

An expression is added to the selected channel linking its value to the

target channelthe second channel selected.

In the Timeline, select a channel, click the Exp. Browser button; in theExpression browser dialog, click an expression picon in the left pane,

and click OK.

The selected predefined expression is added to the selected channel.

In the Timeline, select a channel, click the Exp. Browser button, and in


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the Expression browser dialog, click OK.

An expression is added to the channel based on the channel's value.

____________________________________________________________

27. Explain about the Paint tools in Combustion ?

(5)

ANS:

Paint is an interactive, vector-based and object-oriented drawing operatorthat youapply to a layer as you would other operators. It allows you to perform a wide range

of painting tasks, from simple retouching, to motion tracking, to full cartoonanimation. As with other painting-type software packages, there are tools for

creating paint strokes, geometric shapes, text, selections, and masks.

Unlike other packages, every element you draw and create in the Paint operator is

non-destructive. As with all other operators in combustion, at any point in thecompositing process, you can go back into the Paint operator and modify the objects.

You can output Paint objects to .swffile format for your web projects.Creating a Paint Object

You use the painting tools to create Paint objects such as rectangles and ellipses,

text, and brush strokes. In this example, we create a filled rectangle to use as abanner in the composite.

To create a Paint object:

1. Select the layer that you want to "paint" and then chooseOperators | Paint.

A Paint operator is added to the layer.

2. Press the Home key to make sure you are positioned over the

animation's first frame.

3. Click the Toolbar tab.

4. Click the Filled Rectangle tool or click-drag the filled tool and select theFilled Rectangle tool to create a filled rectangle.

5. Draw a rectangle over the lower left portion of the image

_______________________________________________________________

28.Explain about the Lights and Cameras in Combustion ?(5)

ANS:Composites in combustion can be 2D or 3D. Use lights to illuminate the surfaces in

your 3D composites, add depth with shadows and shading, and add realism to your


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composites. Use the camera to navigate through the 3D landscape.

Adding Lights to a Composite

You can use lighting to add realistic effects and texture to your composites. The

combustion lighting controls are versatile and can be animated using keyframes orexpressions.

When combustion light strikes a layer, it is reflected and refracted, and it casts

shadows in the scene. The effect that light has on a layer depends on the surfacecharacteristics of the layer as much as it depends on the type, color, and intensity of

the light.

Viewing the Scene Through a Camera

The camera behaves like any other object in a 3D composite. You can move androtate the camera to view your composite from a different angle without disturbing

the elements within. You can add keyframes or expressions to the camera channelsto animate the viewpoint of a composite or to produce cinematic effects such as

dollies and truck shots.

When you are viewing the scene in Perspective view, the camera appears as anelement of your compositeyou can see a visual representation of the camera andits field of view.

____________________________________________________________

29.What are the Rendering techniques in Combustion ?

(5)

ANS:

Rendering the Finished Product

Once you finish your animation project, you must render it to create a finished movie

that can be played back on the device of your choice.

To render your composite as a QuickTime movie:

1. Choose File | Render, or press Ctrl+R(Windows.

2. The Render Queue dialog appears.

Rendering to RAM for Real-Time Playback

combustion provides two ways to render your work using your system RAM. Thefirst method is to simply use the playback controls to preview your work in a

viewport. Once combustion has buffered every frame in its memory once, the clipwill play at real-time playback speed, depending on the performance of your graphics

display card. You can continue to work on your projects, and the results of yourchanges will dynamically update as the clip plays in the viewport.

To render to RAM:


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1. In the Workspace panel, double-click the operator that you want torender.

2. Choose File | Render to RAM, or press Ctrl+Shift+R(Windows)

__________________________________________________________

30.How to create the Proxy Footage in Combustion ?

(5)

ANS:You can create a low-resolution version of the footage for quicker feedback and lower

memory requirements. You do this in the Make Proxy dialog.

For example, if you are working with a film-resolution workspace, you can open the

film-size layers, and use the Make Proxy dialog to render an NTSC D1 or other-sizedversion to disk from the original footage. You can then switch between the full

resolution version and the proxy as needed.

To make a proxy for a layer:

1. Select the Footage operator and show the Footage Controls panel.

2. Click the Make Proxy button.

3. Select a file format from the Format list. Click the Options button toset the compression options for the selected format.

4. Select a frame size from the Frame Size list. To use a custom framesize, enter a value in the Width and Height fields.

5. Click the Lock button to maintain the footage aspect ratio when youenter custom height or width values.

6. Set the bit depth if necessary.

7. Specify the filename and location for the proxy. You can enter a file

path, or click Browse and navigate to the location where you want tostore the proxy.

8. Click Process.

The system renders a proxy of the selected layer. When rendering is

complete, the proxy is inserted in place of the original footage (thefootage is pixelated).

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31.Explain about the Text controls in Combustion ?(5)

ANS :

You can add text to a composite in several ways:

Add a Text operator to a layer.

Add a separate Text branch to a workspace.

Create a new Text layer in a composite.

Use the Text tool in the Paint operator.

When text is added to a layer, the effect on the layer in relation to the entirecomposite is displayed only when you switch to the composite view. Like the Paint

operator, the Text operator works on the original footage of that layer.

Aligning and Distributing Text Objects

combustion offers the following text object alignment features:

Align (justify) text objects horizontally or vertically to each other.

Distribute text objects evenly.

You can distribute or align to left, center, or right (for Horizontal) or top, center, orbottom (for Vertical). To align to the image, select one text object only. Otherwise,

the text objects align to the first object.

Aligning Text Objects

You can align a text object to the top, bottom, left, right, or center of the image. In

addition, you can align objects to other objects.

Is is possible to generate timecode in combustion in the text controls.

Layout Type Options

Use the Type list to select a type of animation for the text object.

StaticEnables the text to be animated by setting keyframes (just like animating

Paint or other objects).

Write OnAnimates the visibility of the characters in the text object. Animating the

Write On value creates a "type on" effect. A Write On value of 0% displays nocharacters, and a Write On value of 100% displays all characters. The character

completion progresses in the direction set by the character Direction settings in theText Basics controls.

The Write On option is available with all text Layout settings.


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Roll UpScrolls the text block automatically up in the viewport.

Roll DownScrolls the text block automatically down in the viewport.

Crawl LeftScrolls the text block automatically to the left in the viewport.

Crawl RightScrolls the text block automatically to the right in the viewport.

Completion/SpeedThe crawl and roll animation types are controlled by theCompletion or Speed sliders. By default, a Completion value of 0% means the text is

offscreen. Increasing the Completion value "rolls" or "crawls" the text (depending onthe selected Layout Type).

The text automatically rolls or crawls when Speed is selected and the Layout Type isset to Roll Up/Down or Crawl Left/Right. The default Speed is 500 (pixels per

second). Entering a lower value in the Speed field slows the animation; entering ahigher number in the Speed field speeds up the animation.

________________________________________________________

32.Explain about the schematic view in Combustion ?(5)

ANS:

The Schematic view uses nodes to represent all the operators in a workspace, andlines (connections) between nodes to indicate the flow of image data between the

operators. The output of one node is the source for the next node.As you create composites and other branches (for example, Paint and Color

Correction projects), the process tree is built automatically. You can work directly

with the process tree in the Schematic view.

For example, you can add operators to a branch, change the process order of theoperators, and navigate easily between the operator controls.

The Schematic view complements the other navigation and editing toolstheWorkspace panel, the Timeline, the Controls panel, and the viewports. While each of

these tools displays data from the process tree in a different way, changes in onetool are reflected in all the other tools.

For example, when you add a Paint operator to a layer in the Schematic view, a Paintnode appears. The same Paint operator appears in the layer in the Workspace panel.

To show the Schematic view:

1. If more than one viewport is showing, click the viewport in which you

want to display the Schematic view.

2. Do any of the following:

o Choose Window | Schematic, press F12


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33.Explain about the Channels in Combustion ?(5)

ANS:

Color channels show the amount of the corresponding color present in the clip usinga grayscale image with a certain bit depth (for example, 8 bits). For more

information, Each branch has three colorchannels, one each for red, green, andblue.

The alpha channeluses another grayscale image (with the same bit depth) todetermine which pixels are opaque and which are transparent for each frame. The

alpha channel is represented by a grayscale image embedded in the file. Thegrayscale value determines the opacity: white pixels are opaque (100% opacity),

black pixels are transparent (0% opacity), and gray pixels represent varying degreesof opacity.

Alpha Channels

You use alpha channels to determine how much of the front image shows over theback image(s).

If you are looking through a keyhole inside a room, the door is the front, the keyhole

is the alpha, and the room is the back. Combined together, these layers form acomposite. The following illustration shows the function an alpha channel performs

when compositing

If you render the contents of the alpha channel, you get what is called a matte.

A matte can be completely black and white (called a "hi-con" for high-contrast), orcan contain many shades of gray. In video and film, mattes are rarely static, and are

rarely pure black and white. Any areas of the front containing transparency (glass,smoke, curly blond hair) or motion blur appear in the matte as gray areas, allowing

the transparent (or blurred) areas to partially show through.

The process of generating a matte (from blue screen, for example) is also known as

"pulling" a matte. Getting as close as possible to the perfect matte is perhaps themost important part of compositing. Because you are superimposing layers on layers

with the aim of creating a "reality," any imperfections in the matte can becomeglaringly obvious and ruin the illusion.

34.Explain about the Audio spectrum and Audio waveform in

After Effects ?(5)

ANS:

The Audio Spectrum effect displays the spectrum of an audio layer. Itdisplays the magnitude of frequencies in the range you define using Start

Frequency and End Frequency. This effect can display the audio spectrum in anumber of different ways, including along a Bezier path of a layer. Apply the

effect to a layer that contains a solid or an image, and that may containaudio.

Note: This effect is a visual effect, not an audio effect, and it must be applied


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to a video layer.

Audio Spectrum Controls :

Adjust the following controls for the Audio Spectrum effect:

Audio Layer

Specifies the audio layer you want to display as a spectrum.

Note: Audio Spectrum uses the audio source footage without time-

remapping, effects, stretch, or levels. To graph this information, pre-composethe audio layer before applying the effect.

Start Point, End Point

Specifies the position at which the spectrum starts or ends if Path is set to

None.

The Audio Waveform effect displays the waveform amplitude of an audiolayer. You can display the audio waveform in a number of different ways,

including along a Bezier path created by an open or closed mask of a layer.Apply the effect to a layer that contains a solid or an image, and that may

contain audio.

Display Options

Specifies how to display the audio waveform. Digital displays each sample as

a single vertical line connecting the minimum and maximum source sample.

This option simulates the display used on digital equipment. Analog Linesdisplays each sample as a line connecting the previous and next sample from

either the minimum or maximum audio source sample. This option simulatesthe retrace seen in the display of an analog oscilloscope. Analog Dots displays

each sample as a dot representing either the minimum or maximum audiosource sample.

35. Explain about the Rotoscoping ? (5)

ANS:

Rotoscoping can describe many different actions in the compositing

process,but,incombustion, it describes the act of painting an element into, or outof,a scene. For instance, if you use wires to support a subject during shooting,you

canrotoscope the wires out of the scene during post-production, making the


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subjectappear to be flying. You can use the Reveal tool to add an element to a scenethat was not present during shooting. You can also use a cloning tool to take one

element and make it into many (such as making one tree into a forest).

Sometimes, more subtle effects are needed, such as removing a logo from an object.

In this situation, you can use selection objects to select the object to remove, then

try blurring it so it is no longer recognizable, or you can use the Clone tool to copy apart of the image on top of the logo.

Rotoscoping also refers to the process of drawing over live action to create realistic

looking animation

36. Explain about the Morphing Filters in Combustion ?(5)

ANS:

By using this filter it is possible to transform one image into other or to morph

moving video charater to another.Combustion is generally provide to different types of morph filters

AE RE:Flex Morph

Use AE RE:Flex Morph to morph from still image to still image. Morphing graduallytransforms an image in a front clip into an image in a back clip. The effect is

achieved by warping the two images and dissolving between the front and back clips.The AE RE:Flex Morph includes the following:

"Key images" are placed by the user along the timeline

Morphing occurs by creating a set of geometry on the first key image,

then moving the set to corresponding places on each of the successive

key images

In-between key images, the user can animate the geometries in order

to achieve a non-constant speed of morphing

By default, the two images are linearly cross-dissolved. For finercontrol, the amount of cross-dissolve can be specified for each piece of

matching geometries individually.

If only one key image is specified, the user can animate a picture intomotion using a single set of geometry.

Automatic alignment feature that can be used in conjunction with

hand-alignment for a combination of user and automatic featurecorrespondence

AE RE:Flex Motion Morph

Use AE RE:Flex Motion Morph to create a moving morph. The AE RE:Flex MotionMorph includes the following:

Morph from one moving sequence to another


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Speed of the warp for each matching geometry can be set individually

Rate of dissolve can for each matching geometry can be set

individually

Automatic alignment feature that can be used in conjunction with

hand-alignment for a combination of user and automatic featurecorrespondence

AE RE:Flex Warp

Use AE RE:Flex Warp to perform free-form distortion of images, such as elongating

someone's nose. Morphing is a transition effect that matches the morphology of oneclip gradually to that of another clip, such as a human morphing into an alien. The

AE RE:Flex Warp includes the following:

Warping is directed using sets of "from" geometries and "to"geometries at each frame

The amount of warping can be specified and animated with onenumber

Variable amount of shape blending between "from" and "to"geometries can be specified per-shape

37. Explain about the Transition Filters in Combustion ?

(5)

ANS:

Transitions Filters

Animate Transitions filters to make one layer gradually disappear over a number of

frames and reveal the underlying layers.

To create a transition:

1. Click the Animate button to enable it.

The Animate button is red when enabled.

2. Go to the frame where you want the transition to start.

3. Select the layer that you want to make disappear (the outgoing layer).

4. Choose Operators | Transitions, and choose a transition from themenu.

5. In the Transition controls, adjust the filter parameters. Leave the

Amount field set to zero.

This is the first keyframe for the transition.

6. Go to the frame where you want the transition to end (where the


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outgoing layer completely disappears).

7. In the Transition controls, set the Amount field to 100%.

This is the last keyframe for the transition.

8. Play the clip. Adjust the in-between keyframes if required.

The layer to which you applied the filter gradually disappears,revealing the underlying image.

Block Dissolve

Use Block Dissolve to create blocks of transparency.

AmountDetermines the number of transparent blocks.

Horizontal SizeDetermines the average horizontal size of the transparent blocks.

Vertical SizeDetermines the average vertical size of the transparent blocks.

Feather AmountCreates an opacity gradient at the edge of the transparent blockscreating a smoother effect.

Circular Wipe

Use Circular Wipe to apply a circular transition to the image.

Gradient Wipe

Use Gradient Wipe to gradually reveal or hide a layer based on the values of pixels in

a separate channel, in the same or a different layer.

Linear Wipe

Use Linear Wipe to apply a transition with a linear edge.

Radial Wipe

Use Radial Wipe to apply a transition that rotates like the hands of a clock.

Venetian Blinds

Use Venetian Blinds to apply a mask in the shape of linear strips.

38. How to create the Nested composites in Combustion ?(5)

ANS:

When you nest a composite, you move it (and everything it contains) onto asinglelayer in another composite. This in a sense "collapses" the composite ontothelayer, with an important differenceyou can still modify all of the elements in

thenested composite. For example, you can move layers, add effects, and

importfootage just as you would normally.

To create a nested composite:

1.) Select a composite in the Workspace panel.


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2.) Select Object | New Layer, or press Ctrl+Y (Windows) or command+Y(Macintosh).The New dialog appears.

3.) Choose Composite from the Type list.

4.) In the Name field, enter a name for the composite.

5.) Select a standard format from the Format Options list or select Custom to

create a custom format. For more information

6.) The corresponding properties (output size, frame aspect ratio, pixel aspectratio, and frame rate) appear in the Format Options box.

7.) In the Duration field, enter a duration in either frames or in SMPTEtimecode.

8.) To change the background color, click the Background Color box, select acolor from the Pick Color dialog that appears, and then click OK.

9.) Select a bit depth from the Depth list.Enable the 2D or 3D Mode button, and

click OK.

10.) A new layer is created in the original composite that contains the newcomposite. The nested composite automatically becomes the current

operator.

Organizing Layers

You can nest a layer, or multiple layers, into a new composite to organize them in

the workspace. For example, nest several layers and then apply a Color Embosseffect to them all.

When you nest a layer, all the operators on the layer (such as Footage and Box Blur)

will be moved into the nested layer. Whether or not the layer properties, such asrotation or depth order, move to the nested layer is determined by the option you

choose when nesting. The options are Operators or Selected Layers.

39. How to work with the cameras in Combustion ?

(5)

ANS:

Working with Cameras

Use the combustion camera to animate fly-throughs, pans, dollies, rolls, and

craneshots. Matchmoving and the ability to work with RPF files make the camera arobust and indispensable element in 3D composites.

About Cameras

You use cameras to define and "record" your viewpoint for rendering. To look

through the camera, set the viewport to Camera view. The camera behaves like anyother object in a 3D composite.


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Note: There are no camera controls for 2D composites.

You can move and rotate the camera to view the composite from a different angle

without disturbing the elements within. For example, to see the composite from thetop, move the camera above the objects, and rotate it to point down. You can

keyframe the camera to animate the viewpoint of a composite or to produce

cinematic effects such as dollies and truck shots.

Camera Controls

These controls determine the properties of the camera "lens". If you import an RPFor RLA file from 3ds max, you can also control how to use the file's camera

animation information.

Field of ViewControls the amount of space visible through the camera. Thegreater the field of view, the farther away the scene appears.

Note: When changing the footage and composite pixel aspect ratio settings, be sure

to reset the camera as well, otherwise your camera will not have the correct Field ofView, and will not be set to produce the correct aspect ratio with non-transformed

layers.

Focal LengthSets the distance of the focal point. As the focal length increases, the

field of view decreases and vice versa.

Aperture WidthSets the size of the camera lens opening. This affects the Field of

View.

Stock LensesProvides several standard focal lengths. Click a button to set the

focal length and field of view.

RPF Transform LayerSelects the layer in the composite that has camera

animation you want to use. Import Camera Imports Ase file target cameras

from 3ds max that were saved to an ASCII Scene Export (*.ase) file.

40. Explain about the Nullobject use in Combustion ?

(5)

ANS:A null object is an invisible object; it has no pixel information or dimensions, and is not renderedin the final output. You can create a null object to use as the camera target. The camera will thenfocus on the null object wherever you move it in 3D space.

If you create multiple null objects, combustion appends an increasing number (in parenthesis) tothe name of each. For example, if you create three null objects, their default names are NullObject, Null Object(2), and Null Object(3). You can rename them at any time.

To target to a null object:

1. Select the composite.

2. Choose Object | New Null Object.

Note: This option is also available in the context menu.


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A null object is added at coordinates 0, 0, 0.

3. Select the camera.

4. In the Composite Controls panel, select the null object from the Target list

You can now move the null object. If necessary, the camera changes rotation

to point at it.

5.

o

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after effects and combustion

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