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Figure 2 Figure 2. Figure 1. This will require some advanced planning. For example, you need to know what you want your composition size to be and how long you want it. See Figure 3 for an example of setting up a new composition on a Mac. Figure 3. Opening a new document in After Effects. This will open the Composition Settings dialog box.
Here you will be able to set the duration and size of your composition. Options include, but are not limited to: Composition Name: This is the name your project will be saved as. Preset: This is the format that you will export your project as.
When choosing the format of your video, it is important to think about how you will be presenting your final piece.
Width and Height: Setting the width and height will set the dimensions of your project, the amount of working space that you will have to work with. Duration: This will be the length that you want your composition to be.
Background Color: This is the color of the background of your working space. When you have entered all of your composition settings, click OK. When you first set up your composition, most areas of your workspace will be blank.
See Figure 4 for an example of a new Work Space. Figure 4. There are many sections within your Work Space that you want to make sure that you get familiar with. Figure 5 tells you about some of the more important ones: Exploring the Work Space: A. Composition Window B. Toolbar C. Files Panel D. Timeline E. Preview Panel Figure 5. Work Space in After Effects Composition Window: This is the area where you will be able to see the project that you are working on.
Toolbar: This houses all of the tools that you will use to create your project. More information will be in the next section, Toolbar Files Panel: The Files panel is where you will be able to see all of the files that you have imported into After Effects for this project. Timeline: This is the area in your Work Space where you will do a majority of your work. Once you become more familiar with the After Effects program, you can add more to this panel.
Preview Panel: When you are still working on your project and would like to preview what you have so far or a certain section of your project, the preview panel will help you with this. Keep in mind that when previewing something using the Preview Panel that it will not play back in real time, it will lag. Figure 6 Some tools in the toolbox have additional tools linked to them.
These tools have small gray triangles in the right-hand corner. To view the additional tools click and hold down on any tool that has a gray triangle in the corner. Figure 6. After Effects toolbar 6. Hand tool Allows you to grab an object in the Composition Window so that you can move it around the frame. Zoom tool Allows you to zoom in on your project within the Composition Window. Rotation tool Takes the selected object and rotates it. Unified Camera tool Allows you to set up the position of your camera.
Pan Behind Anchor Point tool Moves the anchor point of the object that is selected. Rectangle tool Creates a rectangle-shaped object. More shapes can be found by clicking on the small gray triangle in the corner. Pen tool Use this tool to draw a path for text or to generate a stroke. Brush tool Use this tool to paint or brush a path as a design element. Clone Stamp tool A tool that can be used to duplicate an item within the layer without creating a new layer.
Eraser tool Select this tool to erase a part of your Composition or of a certain layer. Roto Brush tool Allows you to define the foreground and background of your layer. The site also offers courses in adobe photoshop, illustrator, gimp, Image editing and drawing, 3D computer graphics and many other tutorials. You have to come and see our Graphics. You will find your happiness without problem! Free courses and tutorials to download for free as PDF files.
Added SmartFX documentation. Noted current suite version numbers throughout. Numerous editorial changes. Documented many new AEGP suite functions. Some editing. Complete reorganization of first three chapters. Fleshed out documentation on Premiere Pro.
Many additions throughout. Corrections for accuracy. Removed old version references. Part encyclopedia, part how-to guide, with multiple sedimentary layers of accreted information from more than two decades of API development and refinement. Yes, there does need to be one source of information about every last niggling detail of the After Effects APIs. As always, your input is valued and appreciated.
It explains what plug-ins are, and how they work with After Effects. It describes the sample projects, and how to modify them. It explains where to install plug-ins, and what resources they use. The basics of effect plug-ins are discussed in chapter 2. It describes capability flags, effect parameters, and image buffers. Chapter 3 dives into the details of developing a complete effect plug-in using the many provided callback functions. It also provides many testing ideas to ensure the plug-in is stabile.
SmartFX is the extension to the effect plug-in API to support bit floating point images, and is covered in chapter 4. Chapter 5 covers events sent to effect plug-ins, how to incorporate custom user interface elements, parameter supervision, and the reliance of custom data parameter types on Custom UI messaging.
Audio effects are covered in Chapter 6. Provided callback functions, hooking into internal messaging, manipulating the current contents of open projects and handling menu commands are all covered at length. Under no circumstances should anyone write an artisan, ever. If you feel strongly that we should change our internal coding standards, please post your requests at comp. Change IDs. This is a living document, and is constantly being updated and edited. Searching through this document based on keywords will often lead you to your answer.
Plug-ins may also be used to bridge the gap between After Effects and another application. Effect plug-ins can provide a set of parameter controls for the user to fine-tune the effect.
These parameter values can vary over time, and effects may use other layers and parameters at different times to calculate the output. But effects are just one type of plug-in used by After Effects. They can work with markers and keyframes, and manage the render queue. They can even run scripts. Unless you need a custom setup dialog to specify interpretation settings, the Premiere Pro importer API provides similar functionality, and is preferable in many cases.
BlitHook plug-ins output video to external hardware for broadcast quality monitoring and playback to tape. The EMP sample project provides a starting point. Artisans provide rendered output of 3D layers, taking over 3D rendering from After Effects which still handles all rendering of 2D layers. After Effects is very flexible, and there are several other ways to integrate with After Effects.
AEIOs and Format plug-ins can also appear as available output formats in the render queue. BlitHook plug-ins are automatically loaded and used by AE, but do not appear in any menu or dialog. The plug-ins must be located in one of a few specific folders in order to be loaded and used by After Effects. Selectors are sent in response to actions the user takes—applying the effect, changing parameters, scrubbing through frames in the timeline, and rendering all prompt different sequences of selectors.
After Effects creates multiple instances of effects, with settings and input data unique to each sequence. All instances share the same global data, and can share data between all frames within their sequence. After Effects General Plug-ins AEGPs have their entry point function called during application launch, and register for whatever messaging they need at that time.
Depending on their features, plug-ins may need to respond to OS- specific entry points as well, for UI work and thread management. For BlitHook plug-ins, frames are pushed as they're displayed in the Composition panel. Users can initiate a RAM preview on an area of the timeline so that it is rendered to RAM, and then it all gets played out at full speed.
They are compiled with the SDK header files, which expose various After Effects functionality to be used by the plug-in. And scripting may be used in tandem with plug-in development, in the cases where a certain function is made available via scripting and not via the C APIs described in this document. After Effects includes the ExtendScript ToolKit, a convenient interface for creating and testing your own scripts.
Scripts may be compiled into. In your script, you can open the project and run script actions on it. So for example, you can execute the following statement to run a script from the command line directly: AfterFX -s "app. Panels can be resized and docked just like any other panel in After Effects. NET SP 1 version In order to use Visual Studio, you may need to adjust some installation settings to install the components for compiling bit plug-ins.
This release fixes some audio APIs that broke in In This restores the functionality when called on the UI thread. These changes are to improve interactive performance and responsiveness.
At the same time, the new design introduces some new requirements and may break assumptions that existing plug-ins relied on. These cases can require use of new Starting in To make this process more efficient, starting in For a code example, refer to the PathMaster sample project. All of these work better with Undo. This is required to prevent flattening and loss of UI state in the middle of mouse operations. See an example in SmartyPants sample project.
Note: Async retrieval of frames is preferred for handling passive drawing situations, but not when a user action will update the project state. Please note there is still a known bug where drag-changing an upstream param may not refresh the histogram draw until the mouse hovers over it. This function may only be called from the UI thread. You may see new errors if code is hitting such cases. For example, making these calls on the render thread will result in an error: suites.
However in previous versions, plug-ins were able to call this function at other times without running into trouble. Not anymore in Calling this function at other times can cause crashes!
If so, the project should be treated as completely read-only, and you will not be receiving UI related selectors on that effect instance. This can be used to optimize away any UI-only initialization that render does not need. If this flag is false, you should setup UI as normal.
This should not be used to avoid reporting errors in render. Errors in render should be reported as usual via existing SDK mechanisms. Seatbelts have been introduced to avoid this. Code that used this for getting analysis frames, etc.
This will no longer function as before in this context, but it will continue to work properly elsewhere. The above uses should be rare, but if this affects you please contact us about workarounds.
This call should generally not be used on the UI thread since synchronous renders block interactivity. The one case where this may still be useful on the UI thread is a case like a UI button that requires a frame to calculate a parameter which then updates the AE project.
A beta of a progress dialog for this blocking operation if it is slow has been implemented, but using this call on the UI thread should be limited to this special cases. The dialog design is not final. This flag tells AE that different threads on different AE project copies can be in the effect at the same time but not accessing the same instance.
While multiple render threads are not yet in use, this will be useful in future releases. It is possible to use these recompiled effects in AE versions older than AE will internally see effect version 8 as version 0. This can affect the version shown in error dialog display by older AE and affect usage reporting.
Since many older plug-ins were made unloadable in AE with the shift to bit, it should be unlikely this wrapping would cause ambiguity with actual plug-ins in current use unless these plug-ins have been rapidly increasing version number over the last few years. However, building with an older SDK and using an 8 or higher version will result in the plug-in reporting an incorrect version to AE, which will then cause mismatch with the PiPL version check for the effect which will have the higher bits set.
This is not supported. If built with an older SDK, you will need to keep the effect version at 7 or below. Increase in version max has been accomplished by adding 4 new higher significant bits to the version that only AE These new high version bits are not contiguous with the original, preexisting MAJOR version bits -- just ignore the intermediate bits.
The new version layout looks like this in hexadecimal or binary. These bits are ignored in AE versions older than After Effects. Note: Since it is not asynchronous, it will not solve the general problem where custom UI needs to draw based on the frame.
Effect names can now be up to 47 characters long, up from 31 characters previously. New in This allows effects to distinguish between There is a bug in The workaround is to simply make the call again. This workaround is no longer needed in The previous non-wide selectors are now deprecated.
Many new layer streams were added. Before you write a line of code, Spend some significant time playing with After Effects, and with the sample projects. Build the plug-ins into the right folder. Set lots of breakpoints, read the amusing and informative comments. Be clear on what your plug-in will attempt to do. After experimenting with the samples, find one that does something like what you want to do.
The temptation to start from scratch may be strong; fight it! For effects, use the Skeleton template project. Avoid the headache of reconstructing projects including the troublesome custom build steps for Windows PiPL resource generation by grafting your code into an existing project.
There, was that so hard? AEGP developers will do well to start with Projector for After Effects project creation support , Easy Cheese for a keyframe assistant, IO for media file format support, and Persisto for a simple menu command and working with preferences.
If only for testing convenience, you should have a project saved with your effect applied, and all its parameters keyframed to strange values. If you run into behavior that seems wrong, see if you can reproduce the behavior using one of the unmodified sample projects. This can save you a lot of time, if you can determine whether the bug behavior was introduced by your modifications, or was already there to begin with.
Your efforts make After Effects better; keep it up! Almost every change we make to the API is suggested by developers like you. Talk to us. After the break, we explain how to build the sample projects, so keep reading below! Artie Artie the Artisan takes over rendering of all 3D layers in a given composition.
This is the same API used by our internal 3D renderers; it is very complex, and exposes a great deal of tacit information about the After Effects rendering pipeline. Unless you have a compelling reason to replace the way After Effects handles 3D rendering, you need never work with this sample. Similar to the IO sample, but supports the frame-based. Note that we now recommend developing a Premiere Pro importer instead.
Grabba Gets frames formatted as the plug-in requests from any composition in the project. Supports the fictitious. Mangler Mangler is a keyframer demonstrating the use of an ADM palette, just like our own.
We recommend starting with that SDK instead. Persisto Shows how to read and write information from the After Effects preferences file. ProjDumper Creates a text file representing every element in an After Effects project. Projector Imports the fictitious. Note: There are some hardcoded paths in Projector. If you don't set these to refer to actual media on disk, you WILL get errors while running this plug-in.
Don't blame us; change them! Streamie Manipulates streams, both dynamic and fixed. Text Twiddler Manipulates text layers and their contents. This is an important concept for all effects with layer parameters. Premiere Pro compatible. Convolutrix Exercises our image convolution callbacks. Gamma Table Shows how to manage sequence data, and uses our iteration callbacks.
Paramarama Exercises wayward param types not used in other sample. PathMaster Shows how to access paths from within an effect. Portable Shows how to detect and respond to several different plug-in hosts. Resizer Resizer resizes surprise! Transformer Exercises our image transformation callbacks. Effect Template Skeleton Skeleton is the starting point for developing effects. Effects with Custom UI CCU Implements a custom user interface in the composition and layer windows, supporting pixel aspect ratio and downsample ratios.
ColorGrid Shows how to use arbitrary data type parameters. Also has a nice custom UI. Histogrid New for CC An example of how custom UI can access asynchronously-rendered upstream frames for lightweight processing in CC and later. This effect calculates a sampled 10x10 color grid from the upstream frame, and displays a preview of that color grid. In render, a higher- quality grid is calculated and used to modify the output image, creating a blend of a color grid with the original image.
Supervisor Shows how to control parameters both values and UI based on the value of other parameters. Use this as a starting point for adding support to output video from the composition panel to video hardware.
For Mac OS, it is Buildall. Windows installers should follow the guidelines here. Under Build Location choose Custom, and fill in the path. In the new dialog, hit the Environment Variables button.
Log out of Windows and log back in so that the variable will be set. Specify After Effects as the application to run during debug sessions.
On Windows, in the Visual Studio solution, in the Solution Explorer panel, right-click on the project, and choose Properties. Set the Executable Path to the After Effects executable file.
This makes the latest suites and API functionality available to your plug-ins. When a new version of After Effects is released, you generally will not need to provide a new version unless you wish to take advantage of new functionality exposed through the new SDK. However, you should always test your plug-in in new versions of After Effects before claiming compatibility with new versions.
You should test your plug-in thoroughly in each version of After Effects supported by your plug-in. Also, see the chapter on compatibility with Premiere Pro and other hosts. Starting in CC, display names can be up to 47 characters long.
Previously, they were limited to 31 characters. In the interest of cross-platform compatibility, use a single.
On Windows, PiPLs are compiled by processing a. The Windows sample projects all contain custom build steps which generate a. Base your development on an existing sample plug-in and the build step will be correctly implemented. If the plug-in supports multiple platforms e. There is no need for a Windows. The macros defined in entry. NET with pipltool-generated resources, include the output of the custom build steps into the Microsoft-generated.
Also, if you need to update one plug-in, do you really want to ship a new build of all your plug-ins? We recommend one PiPL, and one plug-in, per code fragment. Be nice, perform scrupulous memory management, and only use your powers for good.
If you follow our advice and base your projects on the SDK samples, you can simply change the. Feel the love. Or, if you ever tinker with the custom build steps, feel the pain.
After Effects will crash immediately if one is thrown from within a plug-in. You may have good reason to install your plug-in for only After Effects, for example, if your plug-in depends on suites and functionality not available in Premiere Pro. We strongly recommend that you use the common folder whenever possible, but for certain cases, the AE- specific plug-in folder is still available.
Mac OS aliases are traversed, but Windows shortcuts are not. Try as you might to build a fence between AE and Premiere Pro, users will still find ways to get across using our lovely integration goodness - Your effects will still be available to Premiere Pro users who create a dynamically linked AE composition with your effect, and put it in a Premiere Pro sequence. For these non-Unicode strings, AE interprets strings as being multi-byte encoded using the application's current locale.
For Mac, set targeted language to the primary language in the preferred language list, and then install AE in the according language. We will cover the basics of effects plug-ins in the next chapter. These details are fundamental to every effect plug-in. Pointers to numerous interface and image manipulation functions are also provided.
These values are only valid during certain selectors this is noted in the selector descriptions. Parameters are discussed at length here. Only valid during certain selectors.
Used primarily for event management and parameter supervision. Responses to some selectors are required; most are optional, though recall that we did add them for a reason During events, they receive event-specific information in extra. Do not rely on this message to determine when your plug-in is being removed from memory; use OS-specific entry points. On Mac OS, the current resource file will be set to your effects module during this selector.
Also, register custom user interface elements. Sequence Selectors These control sequence data handling. Sent when the effect is first applied. Sent after sequence data is read from disk, during pre-composition, or when the effect is copied; After Effects flattens sequence data before duplication. Flatten sequence data containing pointers or handles so it can be written to disk.
This will saved with the project file. Flat data must be correctly byte-ordered for file storage. As of 6. In this case, After Effects will dispose of your flat sequence data. Frame Selectors Passed for each frame or set of audio samples to be rendered by your plug-in. This is sent immediately before each frame is rendered, to allow for frame-specific setup data. If your effect changes the size of its output buffer, specify the new output height, width, and relative origin.
All parameters except the input layer are valid. This is so we know whether or not the given layer will be visible. This render call can only support 8-bit or bit per channel rendering. Request a time span of input audio. Allocate and initialize any sequence-specific data. Identify the area s of input the effect will need to produce its output, based on whatever criteria the effect implements. Perform rendering and provide output for the area s the effect was asked to render.
Messaging The communication channel between After Effects and your plug-in. A parameter can be modified by different actions. This might occur after opening the ECP or moving to a new time within the composition.
Only cosmetic changes may be made in response to this command. NOTE: Never check out parameters during this selector. Recursive badness is almost guaranteed to result. The extra parameter indicates which handler function is being called. Custom data types are discussed further in Implementation. Return just a NULL pointer for the string handle if there are no dependencies to report.
The extra parameter points to whatever parameter the AEGP sent. AEGPs can only communicate with effects which respond to this selector. This selector will be sent at arbitrary times. This structure is updated before each command selector is sent to a plug-in. This very useful function suite is described in Interaction Callback Functions. This pointer is defined at all times. After Effects uses this to identify your plug-in. Effects should perform faster in LO, and more accurately in HI.
The graphics utility callbacks perform differently between LO and HI quality; so should your effect! This field is defined during all frame and sequence selectors. Use this to test whether your plug-in, licensed for use with one application, is being used with another. Undefined on Windows. This is the current time in the layer, not in any composition.
If a layer starts at other than time 0 or is time-stretched, layer time and composition time are distinct. To handle time stretching, composition frame rate changes, and time remapping, After Effects may ask effects to render at non-integral times between two frames. Can be negative if the layer is time-reversed. Can vary from one frame to the next if time remapping is applied on a nested composition. For example, this could occur when an inner composition is nested within an outer composition with a different frame rate, or time remapping is applied to the outer composition.
If time remapping is enabled, this value will be the duration of the composition. Affected by any time stretch applied to a layer. Check this field to see if you can process just the upper or lower field. Values range from 0 to 1, which represents degrees. Will be zero unless motion blur is enabled and checked for the target layer. See the section on Motion Blur for details on how to implement motion blur in your effect. Buffer resizing effects can cause this height difference.
Not affected by downsampling. Iterating over only this rectangle of pixels can speed your effect dramatically. See notes later in this chapter regarding proper usage.
Non-zero only when the effect changes the origin. Locked and unlocked by After Effects before and after calling the plug-in. Non-zero only if one or more effects that preceded this effect on the same layer resized the output buffer and moved the origin. NOTE: Checked-out point parameters are adjusted for the pre-effect origin at the current time, not the time being checked out.
Add a mask to your layer and move it around. Account for downsampling when computing output size; users must be able to render at full resolution. If the output buffer exceeds 30, by 30,, clamp it to that size, and consider displaying an alert dialog. Once your code behaves correctly, enable the cache and see how frequently the effect needs to re-render. Consider a drop shadow; users frequently apply a static drop shadow to a still image.
Point parameters are adjusted for this shift automatically. Apply a buffer expander such as Gaussian Blur or the Resizer SDK sample, before your effect, and use a large resize value.
For most effects this works transparently. However, if a buffer expansion changes over time as with an animated blur amount , the origin shift will move non-animated points. Consider this when designing effects which cache point parameter values between frames. Valid times for altering these fields are noted. After Effects uses this data to decide which of duplicate effects to load. Otherwise, this memory is rarely used. To create a 5- pixel drop shadow up and left, set origin to 5, 5.
OR together multiple values. In previous versions they were also used to send rudimentary messages, e. These capabilities have been supplanted by function suites, and all new messaging functions will come in that format. However, capability flags are still contained in the PiPL. Update both the PiPL and your source code when you make a change. Many of these flags can be changed during an After Effects session.
If you use a parameter including layer parameters from another time, set this flag. Otherwise, After Effects will cache your output to be used to render other frames, if possible. Set this flag if output varies based on something besides a parameter value. If the effect produces changing frames when applied to a still image and all parameters are constant, that's a sure sign that this bit should be set e.
Wave Warp. Particle effects, for example, will need this. Turn this off whenever possible to improve performance. You can use arbitrary data with a custom UI, should such changes become necessary. See details at the end of the chapter for proper usage.
Note: Obsolete for SmartFX. Set after any command, and can be used during debugging. This is also a good way to implement nag messages for tryout versions.
Note: Only set this flag if you need to; it drastically reduces caching efficiency. As an example, color correction effects are typically pixel independent, distortions are not. It can provide dramatic performance improvements. This is of limited use; while saving an allocation, it invalidates some pipeline caching.
After Effects will perform any required format conversion. This is true if output at a given time depends on output from previous times. The filter can access parameters from that earlier time, and should cache them along with interim audio in sequence data.
The filter can update its delay line using the parameters and the input audio. But those individual settings will not be honored unless the effect sets this bit.
Otherwise, all parameter groups will be collapsed by default. Note: this flag can cause the size of the output buffer to change. Set this flag if the effect can take pixels with zero alpha and reveal the RGB data in them like our Set Channels effect.
This tells After Effects not to trim such pixels when determining the input for the effect. If your effect can reveal such pixels, tell AE not to throw away these RGB values by setting this flag. If your effect does not always reveal such pixels, set this bit dynamically. To see if your effect needs this bit set, apply a mask significantly smaller than the layer to a solid, then apply the effect and set it to its alpha-modifying state. If the rectangular bounding box of the mask becomes visible, this bit needs to be set.
When set, all parameter checkouts are tracked so over-time dependencies are known by the host, and much more efficient. This is needed so After Effects knows to invalidate your output when a mask is modified that doesn't appear to be referenced by your effect. One of the best aspects of the After Effects effect API is the parameter interpolation and management. How much does the shutter angle change during one-fourth of a Not your problem; leave it to After Effects. You may have up to approximately 38 kajillion parameters, or as many as your users are willing to sift through before demanding a refund.
Choose wisely. When used as effect parameters, these appear as a pull-down menu with which the user selects a layer within the current composition. The pull-down menu contents are generated by After Effects.
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