How Do You Upload a Picture to After Effects

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Preparing still-epitome files for importing

You can import individual still images into After Effects or import a series of notwithstanding images as a sequence. For information nigh the still-image formats that Afterward Effects imports, come across Supported import formats.

Afterward Furnishings works internally in an RGB colour space, just it tin import and convert CMYK images. However, when possible, you should work in an RGB color space in applications such as Illustrator and Photoshop when creating images for video, film, and other non-print media. Working in RGB provides a larger gamut and more than accurately reflects your final output.

Before you import a still image into Later on Effects, prepare it as completely every bit possible to reduce rendering time. It is usually easier and faster to prepare a however image in its original application than to alter it in Afterwards Furnishings. Consider doing the following to an image before importing it into After Furnishings:

• Make sure that the file format is supported by the operating system you plan to use.
• Ingather the parts of the image that you do non want to be visible in Later on Effects.

Illustrator files can have partial dimensions (for instance, 216.5x275.5 pixels). When importing these files, Later Effects compensates for the fractional dimensions by rounding up to the next whole number of pixels (for instance, 217x278 pixels). This rounding results in a blackness line at the right (width) or lesser (acme) edge of the imported epitome. When cropping in Illustrator, make sure that the dimensions of the cropped area are whole numbers of pixels.

• If you want to designate areas as transparent, create an alpha aqueduct or employ the transparency tools in applications such as Photoshop or Illustrator.

• If final output will be broadcast video, avoid using thin horizontal lines (such equally 1-pixel lines) for images or text because they may flicker as a effect of interlacing. If you must use sparse lines, add a slight mistiness so that the image or text appears in both video fields instead of flickering between them. (Meet Interlaced video and separating fields and Best practices for creating text and vector graphics for video.)

• If final output will be broadcast video, make sure that important parts of the paradigm fall within the action-safety and title-safety zones. When yous create a document in Illustrator or Photoshop using a preset for moving picture and video, the safe zones are shown as guide lines. (See Safe zones, grids, guides, and rulers.)

• If the final output will exist circulate video, go on colors inside the broadcast-safe ranges. (Encounter Broadcast-safe colors.)

• Relieve the file using the right naming convention. For case, if you program to import the file into Later on Furnishings on Windows, utilise a 3-character filename extension.

• Gear up the pixel dimensions to the resolution and frame aspect ratio that you will employ in Afterwards Effects. If you programme to scale the image over time, set image dimensions that provide enough detail at the largest size the image has in the projection. After Effects supports a maximum image size of 30,000x30,000 pixels for importing and rendering files. The size of paradigm that y'all tin import or consign is influenced by the corporeality of concrete RAM bachelor to After Effects. The maximum composition dimensions are likewise 30,000x30,000 pixels.

The image size or pixel dimensions setting in Photoshop (or other image-editing application) is relevant for the preparation of image data for import into After Effects—non dpi (dots per inch) or ppi (pixels per inch) settings. The image size determines how many pixels broad and tall an image is, whether those pixels are the tiny ones on a mobile device or the large ones on a motion billboard. The dpi or ppi settings are relevant to printing an epitome and to the calibration of copied and pasted paths.

Import a single still image or a withal-image sequence

You lot tin import notwithstanding prototype files as private footage items, or y'all can import a series of however image files equally a still-image sequence, which is a single footage item in which each nevertheless prototype is used as a single frame.

To import multiple image files as a single still-paradigm sequence, the files must be in the aforementioned folder and use the same numeric or alphabetic filename pattern (such as Seq1, Seq2, Seq3).

When y'all import a file that appears to Afterward Furnishings to be one file in a however-image sequence, After Effects past default imports all other files in the aforementioned binder that appear to be in the same sequence. Similarly, when y'all select multiple files that appear to exist in a sequence, After Effects past default imports them as a sequence. You can see what Afterwards Effects is about to import by looking at the bottom of the Import dialog box. You can also import images and sequences by dragging files and folders into the Project console.

To forestall Afterward Effects from importing unwanted files when you want to import only a single file, or to prevent After Furnishings from interpreting multiple files equally a sequence, deselect the Sequence selection in the Import dialog box. After Effects remembers this setting and thereafter uses it equally the default.

You tin import multiple sequences from the same binder simultaneously by selecting files from different sequences and selecting Multiple Sequences at the bottom of the Import dialog box.

When importing a sequence of still images, you can employ the Force Alphabetical Club pick in the Import dialog box to import a sequence with gaps in its numbering (for example, Seq1, Seq2, Seq3, Seq5). If you import a sequence with gaps in its numbering without selecting this option, Afterward Effects warns you of missing frames and replaces them with placeholders (if the Written report Missing Frames option is checked in Edit > Preferences > Import).

Subsequently Effects uses settings of the first image in the sequence to decide how to interpret the images in the sequence.

If the paradigm files in a sequence are of a layered file type—such every bit Adobe Photoshop or Adobe Illustrator documents—so you can choose to import the sequence as a standard footage item, or equally a composition in which each layer in each file is imported as a separate sequence and appears as a separate layer in the Timeline panel.

When you lot return a composition that contains a numbered sequence, the output module uses the start frame number every bit the kickoff frame number. For example, if yous start to return on frame 25, the proper noun of the file is 00025.

A sequence of still-image files (left) becomes 1 prototype sequence when imported into After Effects (right).

Verify individual image sequence files

When you lot import image sequence files in After Furnishings CC 2015.3 and later versions, it does not individually verify every file in the sequence. This accelerates the image sequence import process, especially when you import from network storage. However, if the sequence includes files that are aliases or shortcuts that do not resolve, for example if the drive is offline, After Effects does non written report those files as missing.

If y'all encounter unexpected missing frames while importing an paradigm sequence, you can enable the Verify Private Files option, which is comparatively slower, but verifies all files in the sequence (Edit > Preferences > Import and enable the Sequence Footage: Verify Private Files).

Cull File > Import > File.

Select any file in the sequence. To import a subset of files in a sequence, select the offset file, hold down Shift, and then select the last file to import.

Choose Footage from the Import As menu.

Click Open (Windows) or Import (Mac OS).

If at any time y'all make up one's mind that yous want access to the private components of the footage detail, y'all can convert it to a composition. See Convert a merged footage particular into a limerick.

Import a nonetheless-image sequence as a composition

When you import a Photoshop or Illustrator file as a composition, you have access to the individual layers, blending modes, adjustment layers, layer styles, masks, guides, and other features created in Photoshop or Illustrator. The imported composition and a folder containing each of its layers as footage items appears in the Projection panel.

Choose File > Import > File.

Select whatsoever file in the sequence. To import a subset of files in a sequence, select the first file, agree downward Shift, and so select the terminal file to import.

Cull one of the following from the Import Every bit menu:

Composition - Retain Layer Sizes

Import the layers, each with its original dimensions.

One reason to import equally a composition with layers at their original dimensions (rather than importing each layer at the limerick frame size) is so that each layer has its ballast point set at the centre of the cropped graphics object, rather than at the middle of the limerick frame. This more oftentimes makes transformations piece of work more as you'd await and prefer when animative private layers of an imported graphic item. For example, if you lot have a car with a separate layer for each bicycle, importing every bit a composition with layers at their original sizes puts the anchor indicate of each wheel in the centre of the wheel, which makes rotating the wheels work every bit you'd expect.

Composition

Import layers and have the dimensions of each lucifer the dimensions of the composition frame.

Click Open (Windows) or Import (Mac Os).

When you import a layered file, such as a Photoshop or Illustrator file, every bit footage, all of its layers are merged together. If at whatsoever time you lot decide that you want access to the individual components of the footage item, you can catechumen it to a composition.

• To convert all instances of a footage item, select it in the Project panel and choose File > Replace Footage > With Layered Comp.
• To convert merely ane instance of the footage item, select the layer in the Timeline console, and cull Layer > Convert To Layered Comp.

Information technology may accept a few moments to convert a merged footage item to a layered composition.

Change the frame rate of a sequence

When you import a sequence of still images, information technology assumes the frame rate specified by the Sequence Footage preference in the Import category. The default charge per unit is 30 frames per second (fps). You can modify the frame charge per unit after importing by reinterpreting the footage particular:

Select the sequence in the Project panel, choose File > Interpret Footage > Chief, and so enter a new value for Assume This Frame Rate.

For more information, see Frame rate.

Preparing and importing Photoshop files

In After Effects CS6 and later, video layers in Photoshop .psd documents are not supported.

Because Later on Effects includes the Photoshop rendering engine, Later Effects imports all attributes of Photoshop files, including position, blending modes, opacity, visibility, transparency (alpha channel), layer masks, layer groups (imported as nested compositions), adjustment layers, layer styles, layer clipping paths, vector masks, image guides, and clipping groups.

Before you import a layered Photoshop file into After Effects, set it thoroughly to reduce preview and rendering time. Avert problems importing and updating Photoshop layers past doing the following:

• Organize and proper name layers. If you change a layer name in a Photoshop file afterwards you have imported it into After Furnishings, Later Effects retains the link to the original layer. Notwithstanding, if y'all delete a layer, Later on Effects is unable to find the original layer and lists information technology equally Missing in the Project panel.

• Brand certain that each layer has a unique proper name. This is non a requirement of the software, but helps to keep y'all from becoming dislocated.

• If you call up that you might add layers to the Photoshop file in Photoshop after y'all take imported information technology into Later on Effects, get ahead and add a pocket-size number of placeholder layers before y'all import the file into Later on Effects. When yous refresh the file in Later on Furnishings, it will not pick up any layers that have been added since the file was imported.

• Unlock layers in Photoshop before importing into After Effects. This is non necessary for most kinds of layers, simply it is required for some kinds of layers. For example, groundwork layers that must be converted to RGB may non be imported correctly if they are locked.

A convenient command inside After Effects is Layer > New > Adobe Photoshop File, which adds a layer to a composition and and so opens the source of that layer in Photoshop for you to begin creating a visual element, such as a background layer for your movie. The layer in Photoshop is created with the right settings for your Subsequently Effects composition. As with many of the Creative Suite applications, you can use the Edit Original control in After Effects to open a PSD file in Photoshop, brand and save changes, and have those changes appear immediately in the picture show that refers to the PSD source file. Even if you don't use Edit Original, you tin can use the Reload Footage control to have Afterwards Effects refresh its layers to use the electric current version of the PSD file. (See Create a layer and new Photoshop footage item and Edit footage in its original awarding.)

I adept way to prevent interlace flicker from thin horizontal lines in still images is to run the Interlace Flicker Removal action in Photoshop before you bring the nevertheless images into After Furnishings. Photoshop includes several video actions for utility purposes such equally this.

Layered Photoshop (PSD) files need to be saved in RGB or Grayscale colour mode for After Effects to import them every bit a composition and to separate the layers. CMYK, LAB, Duotone, Monotone, and Tritone colour modes are not supported for layered files; Subsequently Furnishings volition import a file that uses ane of these color modes equally a unmarried, flattened image. (Regarding the other color modes bachelor in Photoshop such as Bitmap and Indexed: Photoshop does not support layers in these color modes.)

To determine or change the color mode of a document in Photoshop, cull Image > Way. (The colour mode is also displayed in the title bar of the document window.)

Adobe Photoshop supports a transparent area and ane optional layer mask (alpha channel) for each layer in a file. You can use these layer masks to specify how different areas within a layer are hidden or revealed. If you import 1 layer, After Effects combines the layer mask (if nowadays) with the transparent area and imports the layer mask equally a direct alpha channel.

If yous import a layered Photoshop file equally a merged file, After Furnishings merges the transparent areas and layer masks of all the layers into one alpha channel that is premultiplied with white.

When you import a Photoshop file equally a composition, vector masks are converted to After Effects masks. You can and so modify and animate these masks inside After Effects.

Photoshop clipping groups, layer groups, and Smart Objects

If the layered Photoshop file contains clipping groups, After Effects imports each clipping group as a precomposition nested within the principal limerick. After Effects automatically applies the Preserve Underlying Transparency selection to each layer in the clipping-group composition, maintaining transparency settings. These nested precompositions have the same dimensions equally the main composition.

Photoshop layer groups are imported as individual compositions.

It is often valuable to group layers into Smart Objects in Photoshop so that you can import meaningful collections of Photoshop layers as individual layers in After Effects. For case, if yous used 20 layers to create your foreground object and 30 layers to create your background object in Photoshop, you probably don't need to import all of those individual layers into After Furnishings if all that you want to do is animate your foreground object flight in forepart of your background object; consider grouping them into a single foreground Smart Object and a unmarried background Smart Object before importing the PSD file into After Furnishings.

Photoshop layer styles and blending modes

Later on Furnishings also supports blending modes and layer styles applied to the file. When you lot import a Photoshop file with layer styles, you can cull the Editable Layer Styles pick or the Merge Layer Styles Into Footage selection:

Editable Layer Styles

Matches appearance in Photoshop and preserves supported layer way backdrop equally editable.

A layer with a layer style interferes with intersection of 3D layers and the casting of shadows.

Merge Layer Styles Into Footage

Layer styles are merged into the layer for faster rendering, but the appearance may not lucifer the appearance of the epitome in Photoshop. This option doesn't interfere with intersection of 3D layers or casting of shadows.

Preparing and importing Illustrator files

Before you lot save an Illustrator file for importing into After Furnishings, consider doing the following:

• Create your certificate in Illustrator using i of the Video And Picture show document profiles. In addition to creating a document at the advisable size for video or flick work, this creates a document with two artboards: one at the appropriate frame size, and i much larger. When you bring such a document into After Effects, the area exterior the smaller artboard isn't cropped and lost; it'southward retained outside of the limerick frame. This just works for an Illustrator document with multiple layers imported equally a composition.

• To ensure that Illustrator files announced correctly in Afterwards Furnishings, select Create PDF Uniform File in the Illustrator Options dialog box.

• To copy paths between Illustrator and Later Furnishings, make sure that the Preserve Paths option is selected in the Files & Clipboard department of the Illustrator Preferences dialog box.

• To ensure that files rasterize about faithfully in After Effects, save your file in AI format instead of Illustrator 8.x or 9.x EPS format.

• To separate objects in an Illustrator file into dissever layers, employ the Release To Layers command in Illustrator. And then, yous can import the layered file into Later on Furnishings and breathing the layers separately.

• If you are working with Edit Original to motility objects and layers in Illustrator, import the Illustrator document into After Effects equally a composition with document-sized layers (not using the Retain Layer Size selection).

When you import an Illustrator file, Afterward Effects makes all empty areas transparent by converting them into an blastoff channel.

When you've imported an Illustrator file, y'all tin can specify whether anti-aliasing is to be performed at higher quality or at higher speed. Select the footage item in the Projection panel and choose File > Interpret Footage > Primary, and click the More than Options button at the bottom of the dialog box.

After Furnishings does not read embedded colour profiles from Illustrator files. To ensure color allegiance, assign an input color profile to the Illustrator footage item that matches the colour profile with which the Illustrator file was created.

After Furnishings tin can't read blending modes from AI documents saved as a version subsequently than Illustrator CS2. If you lot need to retain blending mode data when importing a file into After Effects from Illustrator, salvage the document every bit an Illustrator CS2 document.

For information on preserving sharpness of vector graphics (avoiding pixelation), see Continuously rasterize a layer containing vector graphics.

Importing camera raw files with Camera Raw

You tin import sequences of camera raw files much as you import sequences of other kinds of still paradigm files.

After Furnishings applies the settings for the first photographic camera raw image in the sequence to all of the images in the sequence that do not take their own XMP sidecar files. After Effects does not check the Camera Raw database for image settings.

Camera raw files are uncompressed. Their large size may increment rendering time.

• Choose File > Import > File.

• Select the camera raw file, and click Open up.

• Brand any necessary adjustments in the Camera Raw dialog box, and click OK.

Y'all tin can arrange a camera raw image after importing information technology. To open the image in the Camera Raw dialog box, select the footage particular in the Projection panel, choose File > Interpret Footage > Main, and click More Options.

A mutual role of the move-picture film production workflow is scanning the film and encoding the frames into the Cineon or DPX file format. The DPX (Digital Picture Exchange) format is a standard format closely related to the Cineon format.

You can import Cineon 4.5 or Digital Flick Exchange (DPX) files directly into an Later on Effects projection as individual frames or as a sequence of numbered stills. Once you accept imported a Cineon or DPX file, you tin apply it in a composition and then render the limerick as an image sequence.

To preserve the full dynamic range of movement-moving-picture show film, Cineon files are stored using logarithmic 10-bpc color. Nevertheless, After Furnishings internally uses 8‑bpc, sixteen‑bpc, or 32-bpc color, depending on the colour bit depth of the project. Piece of work with Cineon files in a 16- or 32-bpc project—by default, After Effects stretches the logarithmic values to the full range of values available.

Cineon information has a x-scrap white point of 685 and a 10-fleck black indicate of 95. Values above 685 are retained, but are treated equally highlights. Rather than abruptly clipping highlights to white, After Effects interprets highlights using a gradual ramp defined past the Highlight Rolloff value. You tin alter the 10-bit white signal and x-fleck black point input levels and the output (converted) white betoken and blackness point levels to match your specific footage items or creative needs.

Utilise a project colour depth of 32 bpc when working with Cineon footage items so that highlights are preserved, in which instance you don't need to roll off the highlights.

When you choose DPX/Cineon Sequence from the Format carte du jour in the Output Module Settings dialog box, you tin then open up the Cineon Settings dialog box to set up output options. Choose whether to output DPX (.dpx) files or FIDO/Cineon 4.5 (.cin) files in the File Format section of the Cineon Settings dialog box.

After Effects provides three bones ways of working with the colors in Cineon footage items:

• The easiest—and recommended—fashion is to enable color management and assign an input color profile to a Cineon footage detail in the Color Management tab of the Interpret Footage dialog box, respective to the film stock on which the footage was recorded. If creating output for moving-picture show, use the same profile as the output color contour so that the output file matches the movie stock. Ane advantage of using color management features to work with Cineon footage items is that compositing with images from other footage types is made easier. See Interpret a footage particular by assigning an input colour profile.

• If y'all demand the settings for the interpretation of the Cineon footage item to change over fourth dimension, and so you can apply the Cineon Converter issue to a layer that uses the Cineon footage item equally its source. Meet Cineon Converter effect.

• If you need to manually modify the settings for a Cineon footage particular, or if yous don't want to use colour management, then you lot tin can apply the Cineon Settings dialog box. To open this dialog box, click the Cineon Settings push in the Color Management tab of the Translate Footage dialog box.

Manual settings in the Cineon Settings dialog box:

Converted Black Signal

Specifies the black point used for the layer in Afterward Effects.

Converted White Point

Specifies the white bespeak used for the layer in After Effects.

10 Chip Blackness Point

Specifies the blackness level (minimum density) for converting a x-scrap Cineon layer.

10 Flake White Indicate

Specifies the white level (maximum density) for converting a 10-bit Cineon layer.

Current Gamma

Specifies the target gamma value.

Highlight Rolloff

Specifies the rolloff value used to correct brilliant highlights. To get over range values when working in 32 bpc, fix the value to 0.

Logarithmic Conversion

Converts the Cineon sequence from log color infinite to the target gamma specified by the Current Gamma setting. When y'all're ready to produce output from the Cineon file, it is important that you reverse the conversion. (To catechumen from logarithmic to linear, set Current Gamma to one.)

Units

Specifies the units After Effects uses to display dialog values.

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Source: https://helpx.adobe.com/after-effects/using/preparing-importing-still-images.html

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