本教程是关于AE真实影视级VFX特效合成实例训练视频教程，时长：12小时11分，大小：13.7 GB，MP4高清视频格式，教程使用软件：After Effects，作者：Kirill Pleshakov，共10个章节，语言：英语。

分享After Effects是Adobe公司推出的一款图形视频处理软件，适用于从事设计和视频特技的机构，包括电视台、动画制作公司、个人后期制作工作室以及多媒体工作室。

而在新兴的用户群，如网页设计师和图形设计师中，也开始有越来越多的人在使用After Effects。

属于层类型后期软件。

AE全称After Effects是adobe公司开发的一个视频剪辑及设计软件。

After Effects ，用于高端视频特效系统的专业特效合成软件，隶属美国Adobe公司。

它借鉴了许多优秀软件的的成功之处，将视频特效合成上升到了新的高度：Photoshop中层的引入 ，使AE可以对多层的合成图像进行控制，制作出天衣无缝的合成效果； 关键帧、路径的引入，使我们对控制高级的二维动画游刃有余；高效的视频处理系统，确保了高质量视频的输出；令人眼花缭乱的特技系统使AE能实现使用者的一切创意；AE同样保留有Adobe优秀的软件相互兼容性。

视频预览：4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前4 天前This production level VFX course, taught by Jonathan Alenskas, shares practical knowledge and experience to prepare you to be able to work on and deliver VFX shots using After Effects. A wide range of approaches and techniques will be discussed as you step through the shots given to work on – with advice on how to quickly get a shot looking good and ready for delivery to your client.CLASS 1: INTRODUCTION AND PROJECT SETUPAvoiding plugins when possible is an aim for this course, but there are a few essentials for the job which are covered to start out. Next, an administrative viewpoint of creating the folder structure and file management, which is vital to keep your projects neat, tidy, and efficient so you can concentrate on the art of VFX. Next, the class gets technical, setting up a 32-bit linear workspace, discussing colour pipeline, and saving a project template so that we don't need to do it every time.CLASS 2: GRAIN MANAGEMENTIn this class begins with building a project file for 'Game Over'. A great deal of time is spent discussing grain management and sharing Jonathan's "Grain Management 101" technique. It's a setup that will work on 80% of your shots so it's a great time saver and where it doesn't work, we will cover workarounds in later classes.CLASS 3: DIVING INThis class begins by discussing how to receive your job from the client: what to ask for and look out for. A look through all the shots from 'Game Over' and a discussion of the work to be done while we build the After Effects project files, applying the information from classes one and two. The class ends with covering how to render output files and check and deliver your work to the client. This includes ensuring that the footage has gone through your pipeline and come out the other end with the exact same colour space in which it was received (roundtrip confirmation).CLASS 4: ESTABLISHING SHOTSIn this class, our first task is to work on the establishing shots and relight and match grade from one shot to the next. The process will help you get a handle on how to read the Lumetri scope and use colour tools inside After Effects to match grade. The focus here is to develop your eye by learning what and how to look for key indicators in a shot which will guide you to getting a successful match. This type of colour matching and integration is one of the core skills in compositing -- it is a skill that takes time to develop and train the eye.CLASS 5: SKY REPLACEMENTOur director has asked to make the dull grey shots look a little warmer and position the story time to be at dawn/early morning. Sound simple, well, it can be but there is a lot of detail to look at in order to make it truly beautiful. A variety of tools and approaches are used for tracking, roto, masking, pulling mattes and delicately grading and integrating a believable sky into our scene. Much attention is paid to continuity over the two shots with the final touch of adding smoke in the distant background, to emulate a war-torn environment.CLASS 6: SKY REPLACEMENT, CONTINUEDIn this class, the second sky replacement shot is worked on with the help of the 3D camera tracker.CLASS 7: SMOKE ELEMENTSA look at real-world smoke references as smoke is added to our shots. Mocha AE is used to help speed up the roto process.CLASS 8: SNIPER SIGHTWe emulate an optical effect for the sniper's view through his scope as he targets our hero. A basic class but many different techniques and tips are shared which will likely apply to other shot types and workflows. For this shot, we find that the basic grain management system doesn't work, so the manual process of grain matching is covered.CLASS 9: MOBILE PHONE SCREEN REPLACEMENTMocha is used to track and build very basic roto and then applied in After Effects. The shot is finessed and you'll also see how to build your comp so you don't struggle with match edges of the screen and apply edge blur and light wrap for a perfect integration.CLASS 10: BODY EFFECTSThis class involves creating a headshot wound and blood spray. The shot is tracked in Mocha and finished by applying lessons learned regarding integration. A few other tricks are covered, such as creating your own alpha channels for element plates.CLASS 11: GROUND EFFECTSBuilding upon many of the techniques from class eight, ground hits with and dust kickup is created to help sell the shot. Things get a little tricker with tracking as the areas we wish to track leave the frame, so some manual tracking adjustment needs to be done. Also, a quick look at rotobrush and refine brush.CLASS 12: MUZZLE FLASHESThere is a lot of technique as well as further application of everything learned so far when creating muzzle flashes for our shot. This shot provides an opportunity to apply reverse stabilization to a shot.CLASS 13In this last