Adobe After Effects - Wikipedia Adobe After Effects CS4 Final Portable

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Adobe After Effects CS4 Free Download Latest Version Final Setup. Edit and enhance your motion videos. Develop exciting animations and image enhancements.

Adobe After Effects CS4 Overview

Adobe has always come up with some stunning applications and After Effects is one of those. With this tool you can create and edit your videos in many ways. Adobe After Effects CS4 is the version that has come up with many enhancements. Now for switching from one workspace to another the tool has provided pull down menus. With these pull down menus flipping from one work space to another has become very easy.

Search fields has been provided in this version for quick assessment to the required area. All you need is to type the name of the required object and the tool will show you everything related to that object. You can easily pick up the required thing from the refined objects.

Expansion has been made in the work space related to 3 Dimensional imaging. A unified camera has also been provided in AE CS4 for viewing objects from any angle.

The Cartoon tool has also been provided that will transform your images and animation into a Cartoon character.

On a conclusive note we can say that After Effects CS4 is a much improved and enhanced tool that will surely make use feel relaxed while dealing with the video editing.

Features of Adobe After Effects CS4

Below are some noticeable features which you’ll experience after Adobe After Effects CS4 free download.

  • Easy to use.
  • Search fields provided for quick assessment.
  • Pull down menus for switching between work spaces.
  • Unified camera is provided.
  • Cartoon tool provided for easy animation.

Adobe After Effects CS4 Technical Setup Details

  • Software Full Name: Adobe After Effects CS4 Final
  • Setup File Name:
  • Full Setup Size: 847 MB
  • Setup Type: Offline Installer / Full Standalone Setup
  • Compatibility Architecture: 32 Bit (x86) / 64 Bit (x64)
  • Latest Version Release Added On: 14th Mar 2014
  • Developers: Adobe

System Requirements For Adobe After Effects CS4

Before you start Adobe After Effects CS4 free download, make sure your PC meets minimum system requirements.

  • Operating System: Windows XP/Vista/7 and 8
  • Memory (RAM): 2GB of RAM required.
  • Hard Disk Space: 1.3GB of free space required.
  • Processor: 1.5 GHz processor or faster.

Click on below button to start Adobe After Effects CS4 Free Download. This is complete offline installer and standalone setup for Adobe After Effects CS4. This would be compatible with both 32 bit and 64 bit windows Wondershare Apps with Patch Tool

Before Installing Software You Must Watch This Installation Guide Video

This Post Was Last Updated On: August 18, 2017 By Author: Admin Adobe After Effects CS4 Free Download

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Beauty Box

Introducing Beauty Box, the next generation in skin retouching plug-ins for After Effects and Adobe Premiere Pro. By using advanced techniques like Face Detection, this skin retouching plug-in automatically identifIes skin tones while preserving important facial features. We make the process of retouching video in After Effects and Premiere Pro easier than ever. Say goodbye to manual masks or retouching frame-by-frame.


removes unwanted noise grain and artifacts from your footage while leaving the details intact for great-looking results, regardless of shooting or lighting conditions. Use smart default settings that give speedy smoothing, or dial in advanced options that treat more difficult clips.


Red Giant Presto is a time-saving tool that quickly turns a live presentation event into a high quality video. Presto imports a timeline with footage of the presenter into your editing application and matches it to the original presentation slides. Presto takes care of the tedious production work: tracking the presenter’s movements, switching slides at the right time, instantly rearranging the layout. And presto! The result is a professionally designed video that lets you share a presentation as soon it’s ended.

Knoll Light Factory Pro 2.5.2

The famous lens flare tool from Academy Award winner John Knoll
Created by John Knoll, Photoshop co-creator and “Star Wars” effects guru, Knoll Light Factory is one of the industry's most popular motion graphics tools. It is most famous for its high-fidelity simulations of light effects called flares, which simulate reflections from a very bright light source as seen through a camera's lens. Knoll Light Factory is Hollywood's go-to tool for adding interest to text or logos or extra pop to FX explosions.

Magic Bullet Looks 1.1

For setting the mood on any timeline
Desert sunrise, Arctic tundra, nighttime urban streets: The look of your footage defines the mood. Now you can define the style of your video or film, regardless of on-set conditions, with powerful imaging tools. Choose from more than 100 Looks presets to help set the mood for everything from a wedding to the next Sundance original. You also get the standalone Magic Bullet LooksBuilder for previsualizing looks on set or anywhere. Portable presets load into any editing hosts, so the same Looks you create on set are the ones you finish with in the editorial suite — no need for an expensive finishing system.

Pro Keying Suite 2008

Everything you need to pull the perfect key in After Effects
Frizzy hair Semitransparent glass This bundle of Primatte Keyer Pro 4.0 and Key Correct Pro lets you tackle the toughest keying challenges with confidence and in record time. Begin by using the pre-key tools in Key Correct Pro to prep your footage for keying in the powerful Primatte Keyer, and then touch up your mattes in Key Correct Pro for pixel-perfect results within After Effects.

Trapcode 3D Stroke 2.5

Making paths, logos, and lines come to life
With 3D Stroke, paths, logos, or lines can take on lives of their own: glowing, tapering, and moving in complex ways through 3D space, while a built-in camera lets you capture the action from any angle. It's broadcast TV's secret weapon for animated logos and sophisticated write-on effects.

Trapcode Echospace 1.0

Painless control of 3D layer instances
Echospace takes the tedium out of working with multiple layer instances in After Effects. Begin with an image, text, footage, or even compositions, and Echospace will create multiple versions of that layer that can be controlled as a group or individually. Movement and effects can ripple through the stack — with offset and delay controls and much more.

Trapcode Form 1.0

Smoke and mirrors, fire and brimstone — all in a single 3D surface generator
Words dissolve into sand, logos catch fire, and water droplets ripple to bass guitar. All of this is possible with a single powerful plug-in that generates animated 3D shapes to mesmerize and entice viewers. Choose from 61 customizable presets, or tweak your own to get just the look you want. Full integration with the 3D environment of After Effects allows you to fly cameras through and around your animated forms.

Trapcode Horizon 1.0

A camera-aware image mapping tool
Give your compositions what they've been missing with this unique mapping tool. The Trapcode Horizon plug-in is a camera-aware image mapping tool that ties your After Effects camera to a 3D world. By applying images or gradients to the inside of a giant sphere, Horizon creates an infinite background. No matter where your camera is directed, the simple controls make photo-realistic backgrounds or sky gradients a snap.

Trapcode Lux 1.0

A way to see the light in After Effects
The 3D lighting feature in After Effects creates pools of light generated from light sources in 3D space — but you can't see the light itself or the cone it produces. Enter Trapcode Lux: a speedy plug-in that adds volumetric lighting effects to projects that require realistic spotlights, point lights, or stage lighting of all kinds.

Trapcode Particular 1.5

Quick-rendering 3D particles with full camera integration and natural behavior
Many editing programs offer basic particle-generation features. But Trapcode Particular goes way beyond the basics, with real-time interactive previews, bouncing particles, 3D camera integration, particles that emit particles, custom shapes, air resistance, gravity and turbulence controls, depth of field, and more. Get the effects seen in “Spider-Man 3.”

Trapcode Shine

Ultra-fast light ray effects
Create compelling light effects without leaving your editing timeline, and without the tedious render times of specialized 3D applications. Sunshine through clouds, headlights through fog, or horror movie titles — Shine does it all. Choose from 22 powerful presets, or make your own light ray effects from scratch. With 16-bit and 32-bit support, Trapcode Shine guarantees high-quality light effects for any project.

Trapcode Sound Keys

Easy audio-to-video synchronization
Audio-intensive animations no longer require time-consuming hand tweaking of keyframes. Trapcode Sound Keys makes it easy to synchronize motion and sound in After Effects using either amplitude or frequency ranges. Unlike palette-based audio-sync products, Sound Keys is applied as a regular effect, making it possible to save settings with your project, generate keyframes into output parameters, and link keyframes to expressions.

Trapcode Starglow

Dazzling effects to transform ordinary highlights
Starglow is a fast-rendering multidirectional glow effect. It can be used to create multicolored star-shaped glints like those created by a camera filter. Each customizable glow consists of up to eight directions, and each direction can be assigned an individual color map and streak length offering endless possibilities.

Trapcode Suite 2008.5

All the Trapcode plug-ins at one affordable price
With Trapcode Suite 2008, the right effects plug-in will always be at your fingertips. Bundle pricing offers enormous savings over purchasing plug-ins individually. The set includes Shine, Starglow, 3D Stroke, Lux, Particular, Echospace, Sound Keys, and the new Trapcode Form plug-in Windows 8 Activation Customization Pack


Adobe After Effects CS4 Final Portable

You import source files into a project as the basisfor footage items and use them as sources for layers.The same file can be the source for multiple footage items, eachwith its own interpretation settings. Each footage item can be usedas the source for one or more layers. You work with collectionsof layers in a composition.

You primarily work with footage items in the Project panel. Youcan use the Footage panel to evaluate footage and perform simpleediting tasks, such as trimming the duration of a footage item.

You can import many different kinds of files, collections offiles, or components of files as sources for individual footageitems, including moving image files, still-image files, still-imagesequences, and audio files. You can even create footage items yourselfwithin After Effects, such as solids and precompositions. You can importfootage items into a project at any time.

When you import files, After Effects does not copy the imagedata itself into your project but creates a reference link to thesource of the footage item, which keeps project files relativelysmall.

If you delete, rename, or move an imported source file, you breakthe reference link to that file. When a link is broken, the nameof the source file appears in italics in the Project panel, andthe File Path column lists it as missing. If the footage item isavailable, you can reestablish the link—usually just by double-clickingthe item and selecting the file again.

To reduce rendering time and increase performance, it is oftenbest to prepare footage before you import it into After Effects.For example, it is often better to scale or crop a still image inPhotoshop before you bring it into After Effects, rather than scalingand cropping the image in After Effects. It is better to perform anoperation once in Photoshop than to force After Effects to performthe same action many times per second—once for each frame in whichthe image appears.

To save time and minimize the size and complexity of a project,import a source item as a single footage item and then use it multipletimes in a composition. It is occasionally useful, however, to duplicatea footage item and interpret each differently. For example, youcan use the same footage at two different frame rates.

If you use another application to modify a footage item thatis used in a project, the changes appear in After Effects the nexttime that you open the project or select the footage item and chooseFile > Reload Footage.


To replace the source footage item for a layerwith another footage item, without affecting changes made to thelayer properties, select the layer and then Alt-drag (Windows) orOption-drag (Mac OS) the new footage item onto the layer in the Timelinepanel.


To replace all uses of selected footage itemswith another footage item, select footage items in the Project panel,and then Alt-drag (Windows) or Option-drag (Mac OS) the new footageitem onto a selected footage item in the Project panel.

When After Effects imports video and audio in some formats, it processes and caches versions of these items that it can readily access when generating previews. This caching greatly improves performance for previews, because the video and audio items do not need to be reprocessed for each preview. 

For more information about importing assets, see this video tutorial on the Creative COW website by Andrew Devis.

After Effects can natively decode and encode QuickTime (.mov) files using the GoPro CineForm codecs on Mac OS and Windows. This means that you do not need to install additional codecs to use and create such files.

In MOV, After Effects has native import support for the following uncompressed formats:

  • DV, IMX, MPEG2, XDCAM, h264, JPEG, Avid DNxHD, Avid DNxHR, Apple ProRes, AVCI, and GoPro CineForm

Native export support is available for the following uncompressed formats:

  • Avid DNxHD, Avid DNxHR, DV, and GoPro CineForm


Because After Effects can natively import and export many codecs (listed above), QuickTime is not required on Windows. For more details about compatibility issues, read the blog post QuickTime on Windows

Some filename extensions—such as MOV, AVI, MXF, FLV, and F4V—denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. After Effects can import these container files, but the ability to import the data that they contain is dependent on which codecs (specifically, decoders) are installed.

By installing additional codecs, you can extend the ability of After Effects to import additional file types. Many codecs must be installed into the operating system (Windows or Mac OS) and work as a component inside the QuickTime or Video for Windows formats. Contact the manufacturer of your hardware or software for more information about codecs that work with the files that your specific devices or applications create.

Importing and using some files requires the installation of additional import plug-ins. (See Plug-ins.)

Adobe Premiere Pro can capture and import many formats that After Effects can’t import natively. You can bring data from Adobe Premiere Pro into After Effects in many ways. (See Working with Adobe Premiere Pro and After Effects.)

  • Adobe Sound Document(ASND; multi-track files imported as merged single track)

  • Advanced Audio Coding (AAC, M4A)

  • Audio Interchange File Format (AIF, AIFF)

  • MP3 (MP3, MPEG, MPG, MPA, MPE)

  • Video for Windows (AVI; requires QuickTime on Mac OS)

  • Waveform (WAV)

  • Adobe Illustrator (AI, AI4, AI5, EPS, PS; continuously rasterized)
  • Adobe PDF (PDF; first page only; continuously rasterized)
  • Adobe Photoshop (PSD)
  • Bitmap (BMP, RLE, DIB)
  • Camera Raw (TIF, CRW, NEF, RAF, ORF, MRW, DCR, MOS, RAW, PEF, SRF, DNG, X3F, CR2, ERF)
  • Cineon/DPX (CIN, DPX with 8-, 10-, 12-, and 16-bpc DPX files, including those with an alpha channel and timecode)
  • Discreet RLA/RPF (RLA, RPF; 16 bpc; imports camera data)
  • EPS
  • GIF
  • Maya camera data (MA)
  • Maya IFF (IFF, TDI; 16 bpc)
  • OpenEXR (EXR, SXR, MXR; 32 bpc)

  • PICT (PCT)
  • Portable Network Graphics (PNG; 16 bpc)
  • Radiance (HDR, RGBE, XYZE; 32 bpc)
  • SGI (SGI, BW, RGB; 16 bpc)
  • Softimage (PIC)


3D Channel effect plug-ins from fnord software are included with After Effects to provide access to multiple layers and channels of OpenEXR files. (See Using channels in OpenEXR files.)

  • Targa (TGA, VDA, ICB, VST)

  • TIFF (TIF)

Video and animation formats

  • Animated GIF (GIF)
  • Avid DNxHR
  • HEVC (H.265) MPEG-4
  • Support for ARRIRAW files from the ARRI ALEXA, or ARRIFLEX D-21 cameras
    For more information on ARRIRAW files, see the ARRIRAW FAQ on the ARRI Group website.
  • CinemaDNG

Note: CinemaDNG is a subset of Camera Raw. A subset of Camera Raw settings can be accessed via More Options in the Interpret Footage dialog box. Color management for CinemaDNG includes the same color spaces as After Effects existing Camera Raw: Adobe RGB, sRGB IEC619662.1, ColorMatch RGB, and ProPhoto RGB.

  • DV (in MOV or AVI container, or as containerless DV stream)
  • Electric Image (IMG, EI)

  • QuickTime (MOV; 16 bpc, only for codecs that do not have any native decoders)

  • Video for Windows (AVI, WAV; requires QuickTime on Mac OS)

  • Windows Media File (WMV, WMA, ASF; Windows only)


  • Media eXchange Format (MXF)

MXF is a container format. After Effects can only import some kinds of data contained within MXF files. After Effects can import the Op-Atom variety of MXF files used by Panasonic video cameras to record to Panasonic P2 media. After Effects can import video from these MXF files using the AVC-Intra 50, AVC-Intra 100, DV, DVCPRO, DVCPRO50, and DVCPRO HD codecs. After Effects can also import XDCAM HD files in MXF format, the MXF OP1format, which contains MPEG-2 video that complies with the XDCAM HD format.

  • MPEG-1, MPEG-2, and MPEG-4 formats: MPEG, MPE, MPG, M2V, MPA, MP2, M2A, MPV, M2P, M2T, M2TS (AVCHD), MP4, M4V, M4A

  • SWF (continuously rasterized)

  • Adobe Premiere Pro 1.0, 1.5, 2.0, CS3, CS4, CS5, CS6, and CC (PRPROJ; 1.0, 1.5, and 2.0 Windows only), and later projects

  • Adobe After Effects 6.0 and later binary projects in After Effects CS5 (AEP, AET)

  • After Effects 7 can open projects from After Effects 3.0 through After Effects 7.

  • Adobe After Effects CS4 and later XML projects (AEPX)

The Automatic Duck Pro Import AE plug-in is now bundled with the application, and called Pro Import After Effects. With it, you can import AAF and OMF files from an Avid system, XML files from Final Cut Pro 7, or earlier, and project files from Motion 4, or earlier. For more information on using Pro Import After Effects, see its User Guide, accessible by choosing File > Import > Pro Import After Effects, then clicking the Help button.

You can also import Final Cut Pro projects into Premiere Pro and then bring that project's components into After Effects.


  • After Effects can also read EIZ files corresponding to imported EI files. See Importing and using 3D files from other applications.)
  • Some MPEG data formats are stored in container formats with filename extensions that are not recognized by After Effects; examples include .vob and .mod. In some cases, you can import these files into After Effects after changing the filename extension to one of the recognized filename extensions. Because of variations in implementation in these container formats, compatibility is not guaranteed.
  • For information about MPEG formats, see the MPEG website and the MPEG page on the Wikipedia website.
  • Before working with QuickTime, read the alert issued by United States Computer Emergency Readiness Team in April 2016, which recommends Windows users uninstall Apple QuickTime from their computers.
  • R3D files are interpreted as containing 32-bpc colors in a non-linear HDTV (Rec. 709) color space. The RED R3D Source Settings color adjustments don't preserve overbright values. Color adjustments done within After Effects do preserve overbright colors when you work in 32-bpc (bits per channel) color. To avoid clipping, manipulate exposure in After Effects, rather than in the footage interpretation stage in the RED R3D Source Settings dialog box.
  • After Effects can import Sony XDCAM HD assets if they were recorded to MXF files. After Effects cannot import XDCAM HD assets in IMX format. After Effects can import Sony XDCAM EX assets stored as essence files with the .mp4 filename extension in a BPAV directory. For information about the XDCAM format, see this PDF document on the Sony website.
  • SWF files are imported with an alpha channel. Audio is not retained. Interactive content and scripted animation are not retained. Animation defined by keyframes in the main, top-level movie is retained.

You can import media files into your project either by using the Import dialog box or by dragging. The imported footage items appear in the Project panel.

If the Interpret Footage dialog box appears after you import a footage item, it contains an unlabeled alpha channel, and you must select an alpha channel interpretation method or click Guess to let After Effects determine how to interpret the alpha channel. (See Alpha channel interpretation: premultiplied or straight.)

  1. Choose File > Import > File, chooseFile > Import > Multiple Files, or double-click an empty areaof the Project panel.

    If you choose Import Multiple Files, then you can performthe next step more than once without needing to choose an Importcommand multiple times.


    To display onlysupported footage files (excluding project files), choose All FootageFiles from the Files Of Type (Windows) or Enable (Mac OS) menu.

    • Select a file, and then click Open.

    • Ctrl-click (Windows) or Command-click (Mac OS) multiple files to select them, and then click Open.

    • Click a file and then Shift-click another file to select a range of files, and then click Open.

    • (Windows only) Select an entire folder, and then click Import Folder.


    If the Sequence option is selected, multiple files from the folder are imported as a sequence of still images.  


If you always want thelayered still-image files that you drag into After Effects to beimported as a composition, choose Edit > Preferences > Import(Windows) or After Effects > Preferences > Import (Mac OS),and choose Composition or Composition - Retain Layer Sizes fromthe Drag Import Multiple Items As menu. (See Importa still-image sequence as a composition.)

  • To import a single file, drag it from Windows Explorer (Windows) or the Finder (Mac OS) into the Project panel.
  • To import the contents of a folder as a sequence of still images that appear in the Project panel as a single footage item, drag a folder from Windows Explorer (Windows) or the Finder (Mac OS) into the Project panel.
  • To import the contents of the folder as individual footage items that appear in the Project panel in a folder, Alt-drag a folder from Windows Explorer (Windows) or Option-drag a folder from the Finder (Mac OS) into the Project panel.
  • To import a rendered output file from the Render Queue panel, drag the corresponding output module from the Render Queue panel into the Project panel.


If you drag an output module from the Render Queue panel into the Project panel before rendering, After Effects creates a placeholder footage item. References to the placeholder footage item are automatically replaced when the output module is rendered; the placeholder footage item itself is not replaced.

After Effects uses a set of internal rulesto interpret each footage item that you import accordingto its best guess for the source file’s pixel aspect ratio, frame rate,color profile, and alpha channel type. If After Effects guesseswrong, or if you want to use the footage differently, you can modifythese rules for all footage items of a particular kind by editingthe interpretation rules file (interpretation rules.txt), or youcan modify the interpretation of a specific footage item using theInterpret Footage dialog box.

The interpretation settingstell After Effects the following about each footage item:


In all of these cases, the information isused to make decisions about how to interpret data in the importedfootage item—to tell After Effects about the input footage. Theinterpretation settings in the Interpret Footage dialog box shouldmatch the settings used to create the source footage file. Do notuse the interpretation settings to try to specify settings for yourfinal rendered output.

Generally, you don’t need to changeinterpretation settings. However, if a footage item isn’t of a commonkind, After Effects may need additional information from you tointerpret it correctly.

You can use the controls in the ColorManagement section of the Interpret Footage dialog box to tell AfterEffects how to interpret the color information in a footage item.This step is usually only necessary when the footage item does notcontain an embedded color profile.

When you preview in theFootage panel, you see the results of the footage interpretationoperations.

Jeff Almasol provides a script on his redefinery website that you can useto make guessing the 3:2 pulldown, 24Pa pulldown, or alpha channelinterpretation more convenient.


Select Preview in the InterpretFootage dialog box to preview the results of the settings made inthis dialog box before you accept the changes.

  1. Select a footage item in the Projectpanel and do one of the following:
    • Click the Interpret Footage buttonat the bottom of the Project panel.

    • Drag the footage item to the Interpret Footage button.

    • Choose File > Interpret Footage > Main.

    • Press Ctrl Alt G (Windows) or Command Option G (MacOS).

  1. Select the original footage item inthe Project panel and do one of the following:
    • Alt-click (Windows) or Option-click (MacOS) the Interpret Footage button atthe bottom of the Project panel.

    • Alt-drag (Windows) or Option-drag (Mac OS) the footageitem to the Interpret Footage button.

    • Choose File > Interpret Footage > Proxy.

You can ensure that different footage itemsuse the same settings by copying interpretation settings from oneitem and applying them to others.

  1. In the Project panel, select the item with theinterpretation settings that you want to apply.
  2. Choose File > Interpret Footage > Remember Interpretation.
  3. Select one or more footage items in the Project panel.
  4. Choose File > Interpret Footage > Apply Interpretation.

The interpretation rules file contains the rules that specify how After Effects interprets footage items. In most cases, you don’t need to customize the interpretation rules file. When you import a footage item, After Effects looks for a match in the interpretation rules file, and then determines interpretation settings for the footage item. You can override these settings after importing, using the Interpret Footage dialog box.

In most cases, the name of the interpretation rules file is interpretation rules.txt; however, some updates to After Effects install a new interpretation rules file with a name that indicates the updated version number, and the updated application uses this new file. If you’ve made changes to the old interpretation rules file, you may need to apply those changes to the new file, too.

Locations of the interpretation rules file in After Effects CC:

  • (Windows) \Users\\AppData\Roaming\Adobe\After Effects <15.1>
  • (Mac OS) /Users//Library/Preferences/Adobe/After Effects <15.1>

Locations of the interpretation rules file in previous versions of After Effects CC:

  • (Windows) \Users\\AppData\Roaming\Adobe\After Effects <14.x>
  • (Mac OS) /Users//Library/Preferences/Adobe/After Effects <14.x>

  1. As a precaution, make a backup copy of the interpretationrules file. By default, this file is in the same location as theAfter Effects application.
  2. Open the interpretation rules file in a text editor.
  3. Modify the settings according to the instructions inthe file.


    You must supply a four-character file-type code foreach footage type or codec. If you don’t know the code for a fileor codec in a project, press Alt (Windows) or Option (Mac OS) asyou select the file in the Project panel. The file-type code and codeccode (if the file is compressed) appear in the last line of thefile description at the top of the Project panel.

  4. Save interpretation rules.txt.

Image files with alpha channels store transparency information in one of two ways: straight or premultiplied. Although the alpha channels are the same, the color channels differ.

With straight (or unmatted) channels, transparency information is stored only in the alpha channel, not in any of the visible color channels. With straight channels, the results of transparency aren’t visible until the image is displayed in an application that supports straight channels.

With premultiplied (or matted) channels, transparency information is stored in the alpha channel and also in the visible RGB channels, which are multiplied with a background color. Premultiplied channels are sometimes said to be matted with color. The colors of semitransparent areas, such as feathered edges, are shifted toward the background color in proportion to their degree of transparency.

Some software lets you specify the background color with which the channels are premultiplied; otherwise, the background color is usually black or white.

Straight channels retain more accurate color information than premultiplied channels. Premultiplied channels are compatible with a wider range of programs, such as Apple QuickTime Player. Often, the choice of whether to use images with straight or premultiplied channels has been made before you receive the assets to edit and composite. Adobe Premiere Pro and After Effects recognize both straight and premultiplied channels, but only the first alpha channel they encounter in a file containing multiple alpha channels.

Setting the alpha channel interpretation correctly can prevent problems when you import a file, such as undesirable colors at the edge of an image or a loss of image quality at the edges of the alpha channel. For example, if channels are interpreted as straight when they are actually premultiplied, semitransparent areas retain some of the background color. If a color inaccuracy, such as a halo, appears along the semitransparent edges in a composition, try changing the interpretation method.

A footage item with premultiplied channels (top) appears witha black halo when interpreted as Straight-Unmatted (lower-left).When the footage item is interpreted as Premultiplied-Matted WithColor and the background color is specified as black, the halo doesnot appear (lower-right).

You can use the Remove Color Matting effect to remove the fringes from the semi-transparent areas of a layer by unmultiplying it.

  1. In the Project panel, select a footageitem.
  2. Choose File > Interpret Footage > Main.
  3. If you want to switch the opaque and transparent areasof the image, select Invert Alpha.
  4. In the Alpha section, select an interpretation method:

    Attempts to determine the type of channels used in the image.If After Effects cannot guess confidently, it beeps.

    Disregards transparency information contained in the alphachannel.

    Interprets the channels as straight.

    Premultiplied - Matted With Color

    Interprets channels as premultiplied. Use the eyedropperor color picker to specify the color of the background with which thechannels were premultiplied.

  1. Choose Edit > Preferences > Import(Windows) or After Effects > Preferences > Import (Mac OS).
  2. Choose options from the Interpret Unlabeled Alpha Asmenu. The options in this menu are similar to the options in theInterpret Footage dialog box. Ask User specifies that the InterpretFootage dialog box opens each time a footage item with an unlabeledalpha channel is imported.

The composition frame rate determines thenumber of frames displayed per second, and how time is divided intoframes in the time ruler and time display. In other words, the compositionframe rate specifies how many times per second images are sampledfrom the source footage items, and it specifies the time divisionsat which keyframes can be set.


After Effects contains a menu for drop-frame or non-drop-frame timecode in the Composition Settings dialog box. In previous releases, this option was a global setting per project.

Composition frame rate is usually determined by the type of output that you are targeting. NTSC video has a frame rate of 29.97 frames per second (fps), PAL video has a frame rate of 25 fps, and motion picture film typically has a frame rate of 24 fps. Depending on the broadcast system, DVD video can have the same frame rate as NTSC video or PAL video, or a frame rate of 23.976. Cartoons and video intended for CD-ROM or the web are often 10–15 fps.


Settingthe composition frame rate to twice the rate of the output formatcauses After Effects to display each field of interlaced sourcefootage as its own, separate frame in the Composition panel. Thisprocess lets you set keyframes on individual fields and gain precisionwhen animating masks.

When you render a movie for final output, you can choose to use the composition frame rate or another frame rate. The ability to set the frame rate for each output module is useful when you are using the same composition to create output for multiple media.

You can set any frame rate field up to a maximum of 999 fps in the April 2017 release of After Effects CC. The update lets you use higher frame rates for rendering, unlike the earlier versions where the maximum frame rate you could set for a composition was 99 fps.

Each motion-footage item in a composition can also have its own frame rate. The relationship between the footage-item frame rate and the composition frame rate determines how smoothly the layer plays. For example, if the footage-item frame rate is 30 fps and the composition frame rate is 30 fps, then whenever the composition advances one frame, the next frame from the footage item is displayed. If the footage-item frame rate is 15 fps and the composition frame rate is 30 fps, then each frame of the footage item appears in two successive frames of the composition. (This assumes, of course, the simple case in which no time stretching or frame blending has been applied to the layer.)

Ideally, use source footage that matches the final output frame rate. This way, After Effects renders each frame, and the final output does not omit, duplicate, or interpolate frames. If, however, the source footage has a frame rate slightly different from what you want to output to (for example, 30-fps footage and 29.97-fps final output), you can make the footage frame rate match the composition frame rate by conforming it.

Conforming the frame rate of a footage item does not alter the original file, only the reference that After Effects uses. When conforming, After Effects changes the internal duration of frames but not the frame content. Afterward, the footage plays back at a different speed. For example, if you conform the frame rate from 15 fps to 30 fps, the footage plays back twice as fast. In most cases, conform the frame rate only when the difference between the footage frame rate and the output frame rate is small.


Conforming can change the synchronizationof visual footage that has an audio track, because changing theframe rate changes the duration of the video but leaves the audiounchanged. If you want to stretch both audio and video, use the TimeStretch command. (See Time-stretcha layer.) Keyframes applied to the source footage remainat their original locations (which retains their synchronizationwithin the composition but not the visual content of the layer).You may need to adjust keyframe locations after conforming a footageitem.

You can change the frame rate for any movie or sequenceof still images. For example, you can import a sequence of ten stillimages and specify a frame rate for that footage item of 5 framesper second (fps); this sequence would then have a duration of twoseconds when used in a composition.


When you import a sequenceof still images, it assumes the frame rate specified by the SequenceFootage preference in the Import category. The default rate is 30 framesper second (fps). You can change the frame rate after importingby reinterpreting the footage item. (See Interpretfootage items.)

Lower frame rates tend to give theimpression of unreality, so many people prefer to work at a lowerframe rate such as 24 frames per second for creative work insteadof working at the 29.97 frames per second that is standard for NTSC video.


Ifyou remove 3:2 pulldown from interlaced video footage, After Effects automaticallysets the frame rate of the resulting footage item to four-fifthsof the original frame rate. When removing 3:2 pulldown from NTSCvideo, the resulting frame rate is 24 fps.

The frame rate of the composition should match the frame rate of the final output format. In most cases, you can simply choose a composition settings preset. In contrast, set the frame rate for each footage item to the frame rate of the original source footage.

Trish and Chris Meyer provide tips and tricks regarding conforming footage items to a specific frame rate in an article (PDF) on Artbeats website.

  1. Select the footage item in the Projectpanel.
  2. Choose File > Interpret Footage > Main.
  3. Select Conform To Frame Rate, enter a new frame ratefor Frames Per Second, and then click OK.


Instead of using Interpret Footage tochange a footage item’s frame rate, you can time-stretch a layerbased on the footage item. For example, time-stretch a layer by 100.1%to convert between 30fps and 29.97fps. Time-stretching modifiesthe speed of audio as well as video. (See Time-stretcha layer.)

  1. Choose Composition > CompositionSettings.
    • Choose a composition settings preset fromthe Preset menu.

    • Set the Frame Rate value.


Jeff Almasol provides a script on is redefinery website to set the framerate and duration of the current composition and all compositionsnested within it.

Pixel aspect ratio (PAR)is the ratio of width to height of one pixel in an image. Frameaspect ratio (sometimes called image aspect ratio or IAR)is the ratio of width to height of the image frame.

A 4:3 frame aspect ratio (left), and a wider 16:9 frame aspectratio (right)

Most computer monitors use squarepixels, but many video formats—including ITU-R 601 (D1) and DV—usenon-square rectangular pixels.

Some video formats outputthe same frame aspect ratio but use a different pixel aspect ratio.For example, some NTSC digitizers produce a 4:3 frame aspect ratio, withsquare pixels (1.0 pixel aspect ratio), and a frame with pixel dimensionsof 640x480. D1 NTSC produces the same 4:3 frame aspect ratio butuses nonsquare pixels (0.91 pixel aspect ratio) and a frame withpixel dimensions of 720x486. D1 pixels, which are always nonsquare,are vertically oriented in systems producing NTSC video and horizontallyoriented in systems producing PAL video.

If you display nonsquarepixels on a square-pixel monitor without alteration, images andmotion appear distorted; for example, circles distort into ellipses. However,when displayed on a video monitor, the images are correct. Whenyou import D1 NTSC or DV source footage into After Effects, theimage looks slightly wider than it does on a D1 or DV system. (D1PAL footage looks slightly narrower.) The opposite occurs when youimport anamorphic footage using D1/DV NTSC Widescreen or D1/DV PALWidescreen. Widescreen video formats have a frame aspect ratio of16:9.


To preview non-square pixels on a computer monitor,click the Toggle Pixel Aspect Ratio Correction button  atthe bottom of the Composition panel. The quality of the pixel aspectratio correction for previews is affected by the Zoom Quality preferencein the Previews category. (See ViewerQuality preferences.)

Square and nonsquare pixels

A. Square pixels and 4:3 frame aspect ratio B. Nonsquarepixels and 4:3 frame aspect ratio C. Nonsquarepixels displayed on a square-pixel monitor 

Ifa footage item uses nonsquare pixels, After Effects displays thepixel aspect ratio next to the thumbnail image for the footage itemin the Project panel. You can change the pixel aspect ratio interpretationfor individual footage items in the Interpret Footage dialog box.By ensuring that all footage items are interpreted correctly, youcan combine footage items with different pixel aspect ratios inthe same composition.

After Effects reads and writes pixelaspect ratios directly from QuickTime movies. For example, if youimport a movie captured as widescreen (16:9 DV), After Effects automaticallytags it correctly. Similarly, AVI and PSD files contain informationthat explicitly indicates the pixel aspect ratio of the images.

Ifa footage item does not contain information that explicitly indicatesthe pixel aspect ratio of the image, After Effects uses the pixeldimensions of the footage item frame to make a guess. When you importa footage item with either the D1 pixel dimensions of 720x486 orthe DV pixel dimensions of 720x480, After Effects automaticallyinterprets that footage item as D1/DV NTSC. When you import a footageitem with the D1 or DV pixel dimensions of 720x576, After Effects automaticallyinterprets that footage item as D1/DV PAL. However, you can make surethat all files are interpreted correctly by looking in the Projectpanel or the Interpret Footage dialog box.


Make sure toreset the pixel aspect ratio to Square Pixels when you import a square-pixelfile that happens to have a D1 or DV pixel dimensions—for example,a non-DV image that happens to have pixel dimensions of 720x480.

Thepixel aspect ratio setting of the composition should match the pixelaspect ratio of the final output format. In most cases, you cansimply choose a composition settings preset. In contrast, set thepixel aspect ratio for each footage item to the pixel aspect ratioof the original source footage.

Trish and Chris Meyer providetips and tricks regarding pixel aspect ratio in two PDF documentson the Artbeats website:

ChrisPirazzi provides technical details about aspect ratios on his Lurker's Guide to Video website.

After Effects CS3 and earlier used pixel aspectratios for standard-definition video formats that ignore the conceptof clean aperture. By not accounting for the fact thatclean aperture differs from production aperture instandard-definition video, the pixel aspect ratios used by AfterEffects CS3 and earlier were slightly inaccurate. The incorrectpixel aspect ratios cause some images to appear subtly distorted.


Theclean aperture is the portion of the image that is free from artifactsand distortions that appear at the edges of an image. The productionaperture is the entire image.

Todd Kopriva summarizes information about the corrected pixel aspect ratios in a post on the Adobe website.

The following table provides details about pixel aspect ratio values in After Effects:

This discrepancy is limited to these older,standard-definition formats for which clean aperture differs fromproduction aperture. This discrepancy doesn’t exist in newer formats.

Newprojects and compositions created in After Effects CS4 and lateruse the correct pixel aspect ratio values by default.

Projectsand compositions created in After Effects CS3 or earlier are upgradedto use the correct pixel aspect ratios when these projects are openedin After Effects CS4 and later.


If you have a custom interpretationrules file, then you should update it with the correct pixel aspectratio values.

If you use square-pixel footage items thatare designed to fill the frame in a composition with non-squarepixels, you may find that the change in pixel aspect ratios causesa difference in behavior. For example, if you previously created 768x576square-pixel footage items to use in a PAL D1/DV composition, you shouldnow create those items with square-pixel dimensions of 788x576.

Compositionsettings presets for square-pixel equivalents of standard definition formatshave changed as follows:

  1. Select a footage item in the Projectpanel.
  2. Choose File > Interpret Footage > Main.
  3. Choose a ratio from the Pixel Aspect Ratio menu andclick OK.

  1. Choose Composition > CompositionSettings.
    • Choose a composition settings preset fromthe Preset menu.

    • Choose a value from the Pixel Aspect Ratio menu Advanced System Care

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