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(PDF) After Effects CC SDK Guide | xSfouX Amv – replace.me – Download Adobe After Effects CC 2015 portable
The Welcome screen will display some useful tips which will optimize the manner in which you will operate Adobe After Effects. When you are about to create a new composition you will be allowed to customize it with the text strings, solid colors, camera, lights, and various new distinct layers. The composition can also be viewed as a flowchart in order to ensure smooth manipulation of its components. You can also apply various different effects like stylize, distort as well as shatter.
You can combine, adjust as well as edit all the elements in order to get higher quality animations. All in all Adobe After Effects CC Portable is an imposing application that can be used for creating professional looking photos and also for rendering 3D graphics.
Ignored in After Effects. After Effects uses this behavior internally when paint strokes are made, so as not to distract the user by revealing the parameter. However, in another case, when turning on Time Remapping, that parameter is revealed. So we provide you the same control over parameters in your own effects. Normally effects cannot alter input image data; only output. Do not access directly; use the accessor macros.
Image data in After Effects is always organized in sequential words each containing Alpha, Red, Green, Blue from the low byte to the high byte. The block of pixels contains height lines each with width pixels followed by some bytes of padding. The width pixels times four, because each pixel is four bytes long plus optional extra padding adds up to rowbytes bytes. Use this value to traverse the image data. Platform-specific padding at the end of rows makes it unwise to traverse the entire buffer.
Instead, find the beginning of each row using height and rowbytes. NOTE: This value does not vary based on whether field rendering is active. NOTE: Input and output worlds with the same dimensions can use different rowbytes values. This defines the area which needs to be output. If your plug-in varies with extent like a diffusion dither , ignore this and render the full frame each time.
Platform-specific reference information. On Windows, this contains an opaque value. Patience, my pet. The output buffer will have larger rowbytes than the input though it will still have the same logical size. Effects will never receive input and output worlds with differing bit depths, nor will they receive worlds with higher bit depth than they have claimed to be able to handle.
It is, emphatically, not safe to simply cast pointers of one type into another! To make it work at all requires a cast, and there’s nothing that prevents you from casting it incorrectly. The returned pixel pointer will be NULL if the world is not bpc. The returned pixel pointer will be NULL if the world is not 8- bpc. Plug-ins must pass all errors back to After Effects. Note that RAM preview will cause this condition, so After Effects will be expecting to receive this error from your plug-in.
Out-of-memory errors are never reported by After Effects. Error reporting is always suppressed during RAM preview, and when After Effects is running in – noui mode.
Doing so will enter your error into the render log, and prevent system hangs in renders driven by a render engine or scripting. Now you have a basic understanding of effect plug-ins, and are ready to start experimenting with some real code.
Go ahead and get started! After getting the basics of your plug-in setup, you may have some questions about reuseable code, advanced functionality, and how to optimize your code to make it faster. To this end, After Effects exposes a tremendous amount of its internal functionality via function suites. By relying on After Effects code for utility functions, you should be able to get your image processing algorithms implemented quickly. This will discussed in the next chapter.
Not every section will be relevant to every plug-in, so feel free to use the PDF document bookmarks to skip to the sections pertinent to your current project. Use our function suites and callbacks to obtain the value of parameters including source footage at different times. Use our memory allocation suite to avoid competing with the host for resources. Use our image processing suites to copy, fill, blend and convolve images, and convert between color spaces.
Obtain information about the masks applied to a layer. ANSI emulation and math utility suites are also provided, as well as information about the application, user, serial number, and current drawing context. Previous versions of After Effects have provided functions for many common tasks. As we moved to support deeper color, these were moved to function suites.
Use the newer function suites whenever possible; things will just be better. Using our function suites keeps your plug-in compact; you write and test less code. The functions are tested, optimized, and used by our own plug-ins. The functions are distributed to multiple processors and take advantage of available hardware acceleration.
No, really, use the provided functions. Though each new version of a suite supercedes the old one, feel free to acquire multiple versions of the same suite; we never remove or alter previously shipped suites.
Note that support for these suites in other hosts of After Effects plug-ins is a maze of twisty caves and passages, all alike.
For small allocations, you can use new and delete, but this is the exception, not the rule. By using our memory allocation functions, After Effects can know when to free cached images, to avoid memory swapping. Failing to use our functions for sizable allocations can cause lock-ups, crashes, and tech support calls. Instead provide an allocator as part of the template definition.
After Effects will also manage progress reporting and user cancellation automatically. Make sure the pixel processing functions you pass to these iterator callbacks are re- entrant. You give a refcon, and the function is invoked with that refcon, plus the x and y coordinates of the current pixel, plus pointers to that pixel in the source and destination images.
If you pass a NULL source, it will iterate over the dst. This function is quality independent. The image may be subset to different CPUs, so consider all the parameters except dst to be read-only while After Effects is processing. Only call abort and progress functions from thread index 0.
Note: You can iterate over more than pixels. Internally, we use it for row- based image processing, and for once-per-entity updates of complex sequence data. Do not use if the source is the destination. Describe the convolution using kernel flags. The matrices pointer points to a matrix array used for motion-blur. When is a transform not a transform?
These matrices can be in any format. The kernel flags describe how the matrices should be created and used. OR together any flags you need.
The first entry in the left column is always the default and has value 0. If the rect is null, it fills the entire image. Quality independent. Nearest neighbor sampling is used in low quality. Because the sampling routine, if used, will typically be called many times, it is convenient to copy the function pointer out to the callbacks structure and into a register or onto the stack to speed up your inner loop. See the sample code for an example. NOTE: The sampling assumes that 0,0 is the center of the top left pixel.
Because of overflow issues, this can only average a maximum of a x pixel area i. NOTE: the sampling radius must be at least one in both x and y. We give function pointers to a large number of math functions trig functions, square root, logs, etc. All functions return a double. See how stringent we are about deprecating macro usage?
Returns non-zero if you should suspend or abort your current processing; return that value to After Effects. Call once per scanline, unless your effect is very slow. After Effects makes caching decisions based on the checkout state of parameters. Masks are not included with checked- out layers. Do not check out layer parameters during UI event handling. If you ask for the time that references the upper field, you will receive back the upper field with a filter used to generate the extra scanlines.
For example, assuming line 0 and 2 are upper fields, and line 1 is a lower field, if you check out the upper fields, line 0 and 2 will be passed back directly from the source footage, and line 1 will be calculated by averaging lines 0 and 2. What happens when checking out a layer at a time that is not frame-aligned? All items have essentially infinite time resolution, so when asking for a time at any value, AE renders the item at that time. For a composition, that involves interpolating all of the keyframes values to the subframe time.
For footage, AE returns a full image that corresponds to the time asked, which is the nearest-to-left frame. If the user has frame-blending on that layer, an interpolated frame is generated. Not doing so causes dismal performance and leaks memory. See Events. After Effects will perform any necessary resampling. This callback is for visual effects that read audio information. To alter audio, write an audio filter.
The output from effect[n-1] is the input param[0] of effect[n]. However, when a SmartFX effect checks out its input parameter params[0] , previous effects are applied. A 10fps layer checked out in a 30fps composition will only need to be refreshed every third frame. Consider an instance where the Checkout sample plug-in is applied to a layer in composition B, and B is pre-composed into composition A where Checkout is applied to it as well.
Presto, recursion! Even different layer parameters can have different pixel aspect ratios! Point parameters are given to the effect scaled for downsample factor and pixel aspect ratio; they are in the coordinate system of the input buffer.
But effects that use absolute pixel measurements or geometry must take a deeper look at the relationship between the input buffer and the final rendered image.
The final rendered image can be stretched or squashed horizontally, relative to the pixels your effect processes. Circles will appear as ellipses, squares as rectangles. The distance between two points varies based on their angle in this coordinate system; anything rotated in this system is skewed, in the final output. This means that any slider which defines a size in pixels will be a problem when the image is rendered downsampled; the width of anti-aliasing filters changes based on downsample factor.
Sometimes these issues aren’t a problem. Any effect that colors pixels based solely on a linear function of the x and y coordinates need not bother with pixel aspect ratio and downsample factor at all. Staying in the input coordinate space is an option, though you must account for pixel aspect ratio and downsample factor elsewhere.
Suppose you’re writing a particle system effect that sprays textured sprites from a source position defined by an effect control point. Using pixel coordinates to represent the particle positions seems fine as long as the particles don’t have to rotate around a point , but when you go to actually render the particle textures, you’ll have to scale them by pixel aspect ratio and downsample factor. If an effect already has coordinate transformation machinery in its pipeline, there’s an alternative that’s often simpler.
Many algorithms require some sort of coordinate transformation; using matrices to set up a transformation, for example. But there are other easily adaptable algorithms, for example a texture generation effect that computes the value of each pixel based solely on its position. In this case, the code must take the raw pixel position and account for pixel aspect ratio and downsample factor. Since point parameters are always reported in input buffer coordinates, convert them to full-resolution square coordinates before use.
With this approach you don’t need to worry about sliders which define a size in pixels; just interpret them as defining size in full-resolution vertical pixels.
Note that you’re not actually dealing with pixels in this stage; you’re just manipulating coordinates or coordinate transformations. Do this as late as possible, so as little code as possible needs to deal with this non-square space. If you’re using matrices, this would be a final output transformation.
For an effect which renders something based on the coordinate of each pixel, iterate over the output pixels and convert pixel coordinates to square coordinates before doing any processing for that pixel.
This may seem like extra work, but most reasonably complex effects like this have a coordinate transformation step anyway; and if they don’t, they still need one to handle pixel aspect ratio and downsample factor correctly. Use an anamorphic pixel aspect ratio composition to track down bugs in pixel aspect ratio handling it really makes them obvious , and be sure to test with different horizontal and vertical downsample factors.
Check for zero before dividing. Yeah, right. Do not attempt to modify the original. After Effects will not honor changes made at other times. This change will be also update the UI, and will be undoable by the user.
At least some of these functions are provided by several third- party hosts. These functions are especially handy for effects with supervised parameters.
Starting in CS6, when a plug-in disables a parameter, we now save that state in the UI flags so that the plug-in can check that flag in the future to see if it is disabled. NOTE: Never pass param[0] to this function. You can specify a range of time to consider or all of time. Pass a specific layer parameter index to include that as the only layer parameter tested.
Passing in NULL for both start and duration indicates all time. Contrary to the name, the call does not provide a way to test a single parameter. At a minimum, all non-layer parameters will be tested. Note: the times need not be contiguous; there could be different intervening values. The last three parameters are optional. Consider carefully where you store information; choosing poorly can impact performance, or make your plug-in confusing to the user. Use global data for information common to all instances of the effect: static variables and data, bitmaps, pointers to other DLLs or external applications.
Frame data is used for information specific to rendering a given frame. This has fallen into disuse, as most machines are capable of loading an entire frame into memory at a time. Of course, your IMAX-generating users will still appreciate any optimizations you can make. Pointers within sequence data which point to external data are, in all likelihood, invalid upon re- opening the project, and must be re-connected.
If a parameter is changed, certain calculated data may no longer be valid, but it would also be wasteful to blindly recalculate everything after every change.
This is done efficiently, as the change tracking is done with timestamps. If the inputs have not changed, you can safely use your cache, AND the internal caching system will assume that you have a temporal dependency on the passed range. RAM Preview to fill the cache, then change one of the keyframes. The related frame and all dependent frames e. Similarly, upstream changes to sources of layer parameters should cause time-selective invalidation of the cache.
This is analogous to creating your own miniature file format. If your sequence data contains a pointer to a long, allocate 4 bytes in which to store the flattened data. You must handle platform-specific byte ordering. Remember, your users the ones who bought two copies of your plug-in, anyway may want the same project to work on Mac OS and Windows.
You can rely on our interpolation engine and parameter management, without having to force your data into a pre-defined parameter type. You must respond to all selectors detailed here if you use arb data.
These functions deal with custom data structure management. You will be passed two handles, but only the source handle contains a valid instance. You must create a new instance, copy the values from the source, and put it in the destination handle. If you are passed a NULL handle, create a default instance of your arb data. You are also passed a float indicating where, between 0 and 1, your interpreted value should be. Allocate an instance and fill it with interpolated data.
The velocity curves have already been accounted for when the normalized time value was calculated. This can be as elaborate as you would like. Your plug-in should emulate the cut-and-paste behavior for pasting text representations of parameter settings into a Microsoft Excel spreadsheet, for example displayed by the plug-ins shipped with After Effects. You have a great deal of flexibility in how you format your output.
This is transparent for other parameter types, as After Effects manages their representing data. Writing an arb data plug-in will give you insight into the vast amount of parameter management After Effects performs, and the sequence in which those managing actions occur. It may even cause you to rethink your implementation, and use the parameter types After Effects manages for you. Populate it with appropriate default values.
Invoke a secondary event handler, HandleArbitrary. Your plug-in code must be recursively re-entrant to support custom data types, since it could be called by After Effects for numerous reasons. Your plug-in could check out a layer that, in turn, depends on another instance of your effect. Watch out for calls to C run-time libraries that rely on static values accessed through global variables.
After Effects has user- controllable UI brightness. Or set the cursor to add mask vertices, just to confuse people? Heh heh heh. But that would be wrong. Retrieves the active displayed language of AE UI so plug- in can match.
Only valid while handling a non-drawing event in the effect. The redraw will happen at the next available idle moment after returning from the event. Use only during custom UI event handling. Our API impurity is your gain. Note that although the Composition panel will be refreshed, this does not guarantee a new frame will be sent to External Monitor Preview plug-ins. In fact, these are the same functions we use internally. Always, always, always check the data back in.
They must check out their own parameters at other times to examine their change over the shutter interval. In addition to checking them out and in like layer parameters , you must use our path data function suites to obtain the details of the path at a given time. Like layer parameters, they must be checked out and in! N segments means there are segments [0. The range of points is [0. Math is hard. Always do this, regardless of any error conditions encountered. Every checkout must be balanced by a checkin, or pain will ensue.
Here are the supported formats. HLS values are scaled from 0 to 1 in fixed point. Y is 0 to 1 in fixed point, I is Hue Given an RGB pixel, eturns its hue angle mapped from 0 to , where 0 is 0 degrees and is degrees. Lightness Given an RGB pixel, returns its lightness value 0 to Saturation Given an RGB pixel, returns its saturation value 0 to However, some advance planning on your part is necessary to allow for such changes.
Your users and technical support staff will appreciate the effort. You must first create a parameter array index.
Create another enumeration for disk IDs. The order of this enumeration must not be changed, though you may add to the end of this list. Note that the order of this list need not correspond with that of the parameter array index. Parameter disk IDs should range from 1 to Why not zero? Long story If no value is specified, After Effects makes parameters sequential starting with 1. To delete a parameter without forcing re-application, remove the code which creates it and its entry in the parameter array index list.
However, do not remove its entry in the disk ID list. To add a new parameter, add an entry in the appropriate location in the parameter array indices list, add the parameter creation code, and append the disk ID to the end of the disk ID enumeration.
To re-order, change the parameter array index list and reorder the parameter creation code appropriately. Instant support call. Save it to the name by which you want users to find the plug-in. Your preset will show up when users search for the name to which it was saved.
Below is one way to sample the pixel at a given x,y location; similar code could be used to write to the given location. Deeeeeep, man. After Effects rotates around the upper left corner of the upper left pixel when the anchor point see User Documentation is 0,0. However, the subpixel sample and area sample callbacks actually treat. To compensate for this, subtract 0. When translating an image by a subpixel amount, make the output layer one pixel wider than its input, and leave the origin at 0,0.
Supporting dynamic outflags can greatly improve performance, preventing After Effects from invalidating your effect’s cache as aggressively as it otherwise would. Confirm that your plug-in performs well with different After Effects cache settings.
A user may have a disk cache of the buggy frame and it needs to be invalidated. What to do? Update your plug-in’s effect version. This value and the AE build number is part of the cache key, so if you update it any frames cached containing content from your plug-in will no longer match. It is expressed in the local layer time system. Comp duration is a factor only when Time Remapping TR is on.
If the time stretch is negative, these values are negative. This works as if Time Stretch was above a filter, but below an outer comp. PFR does not alter the effect of Time Stretch. It has nothing to do with the actual time map, just whether or not it’s enabled. The biggest variation comes from being nested in an outer comp, unless PFR is on.
When PFR is on, a filter is completely isolated from time variations in an outer comp. It may skip frames or go backwards. This may be any value, including 0. This can be interpreted as an instantaneous time rate, rather than a duration. This is the current time in the layer, not in any comp. It can never be zero, but it can be negative. It can have any value, positive, negative, or zero, and can be different for every frame of the outer comp. It is affected only by the comp frame rate, although presumably all the time values could be scaled proportionately for any reason.
A layer’s intrinsic frame rate if it has one is not visible anywhere, although it’s usually the same as the comp frame rate. If a filter needs to access the actual frames of a clip, it can do so only by being in a comp of the same frame rate, and with no Time Stretch or Time Remapping applied to its layer.
Consider the ripple effect. If the user interpolates the speed over time, you should integrate the velocity function from time zero to the current time.
The cost of checking out many parameter values is negligible compared to rendering, and is the recommended approach. If you check out parameter values at other times, or use layer parameters at all, you must check in those parameters when finished, even if an error has occurred.
Remember, checked- out parameters are read-only. Does your plug-in handle running out of memory gracefully? What happens when your video effect is applied to an audio-only layer? Test with projects created using older versions of your plug-in. This extension of the effect API is the way to implement bit per channel support in After Effects. Normal effect plug-ins are given a full-sized input buffer, and asked to render a full-sized output buffer. However, using the legacy effects API, there is no way for After Effects to know this, so the entire layer is passed to the plug-in.
These extra pixels can be extremely expensive and wasteful to compute, especially in the case of prior effects or nested comps. The effect is told how much of its output is required, and must explicitly ask the host for the inputs it needs. The render process is split into two parts: pre-render and render. The effect must also return the extent of the resulting output, which may be smaller than the requested size if there are empty pixels in the requested portion of the layer.
During the render stage, the effect can only retrieve pixels that it has previously requested. This two-pass approach facilitates many important optimizations. There are also important optimizations that are performed internally by After Effects to ensure that image buffers are copied as little as possible, and these optimizations are only possible after the host knows the buffer sizes and for all inputs and outputs.
It absolutely cannot vary depending on current render request or anything else. It should be calculated carefully, not loosely. This calculation is very important.
It is an intrinsic property of the node and its inputs and is fixed once the graph is built. Violation of it can and probably will cause all sorts of problems in various pieces of code. To preserve compatibility with non-smartified hosts, you may want to continue supporting the older commands too.
The effect tells After Effects what input it needs to generate that output, through the use of callback functions, and by manipulating the structures in the extra parameter. Data written to other channels will not be honored. It must be positive and unique. This will be the size of the composition for collapsed layers.
This must not vary depending on requested output size. Set if possible; it enables certain optimizations. Use of this is discouraged, though still supported in CS3 8. After Effects’ caching system relies upon them, incorrect values can cause many problems. If there are pixels outside this rectangle, they will never be displayed.
Mis-sized output rectangles can cause problems as well. If these rectangles are too big, a loss of performance results. Not only will many empty pixels be cached robbing the application of valuable memory , the effect may be unnecessarily asked to render large regions of nothing. It must be the same no matter what portion of the output is requested by After Effects. They cannot depend on a fixed frame size, and the size of the input may change over time.
For example, the user could apply an animated drop shadow to a layer, which would add pixels to different edges of the layer at different times, depending on the direction in which the shadow is cast. As this value is unaffected by subsequent effects, it can act an absolute reference for things like center points. However, this is not fool-proof, as the user could have applied a distortion or translation effect.
Also, this value is available only for the layer to which the effect is applied, not other layer parameters. It is available for all layers, but changes over time according to previously applied effects, possibly in ways the user might not expect as in the drop shadow example above.
Note that render may never be called at all. After Effects may have only wanted to to perform some bounds computations, or it may have subsequently discovered that an effect’s output is not needed at all which can happen, for example, if the pre-render phase for a track matte returns a rectangle that does not intersect the effect’s output. All effects must be able to handle Pre-Render without Render without leaking resources or otherwise entering an unstable state.
Note that effects are not allowed to check out output until at least one input has been checked out unless the effect has no inputs at all. NOTE: For optimal memory usage, request the output as late as possible, and request inputs as few at a time as possible. However, you aren’t required to actually use every input. There has to be a one-to-one mapping on the number of checkouts made in PreRender and SmartRender. Custom ECW UI allows an effect to provide a parameter with a customized control, which can be used either with standard parameter types or arbitrary data parameters.
When the effect is selected, the Window can overlay custom controls directly on the video, and can handle user interaction with those controls, to adjust parameters more quickly and naturally. After Effects can send events to effects for user interface handling and parameter management, integrating effects into its central message queue.
While many events are sent in response to user input, After Effects also sends events to effects which manage arbitrary data parameters. The plug-in is allowed to store state information inside the context using the context handle. Handle the mouse click and respond, passing along drag info; see sample code , within a context. NOTE: As of 7. Use an After Effects cursor whenever possible to preserve interface continuity.
Notification that the mouse is no longer over a specific view layer or comp only. After Effects passes a pointer to this structure in the extra parameter of the entry point function. This drawing context is used with the Drawbot suites for drawing, and also for the UI callbacks. Otherwise, as of After Effects 5. If you have Custom Comp and ECW UIs in the same plug-in, this is the way to differentiate between them what kind of masochist are you, anyway?
The controls are numbered from 0 to the number of controls minus 1. See the CCU sample project for an example. The next click event will then effectively be a drag event.
These coordinates can be converted to different coordinate systems using the UI Callbacks. The Drawbot suites can be used for: 1. Your users will thank you. This will cause a lazy display redraw, and will update at the next available idle moment.
This rect is in coordinates related to the associated pane. Using a NULL rect will update the entire pane. This is the first call needed to use Drawbot. Release this using ReleaseObject. You can pass the default font size from GetDefaultFontSize. For example, it should be used when any object is copied and the copied object should be retained.
It should be popped to retrieve old state. It is required to restore state if you are going to clip or transform a surface or change the interpolation or anti-aliasing policy. This is not always needed, and if overused, may cause excessive redrawing and flashing. Sweep is clockwise. Units for angle are in degrees.
After Effects is using this suite internally, and we have made it available to make custom UI look consistent across effects. Optionally draw the shadow using the overlay theme shadow color. Uses overlay theme stroke width for stroking foreground and shadow strokes.
Use these callbacks! It is possible to build a functioning plug-in which utilizes a custom UI without implementing the coordinate system transposition callbacks. We added these macros and callbacks so that custom user interfaces could be easily integrated into the After Effects UI, without inflicting user interface overhead on developers. Again, please use them! These macros default the refcon and context handle for simplicity. The default context is the current context.
This always exists. Screen frame coordinates are affected by the current zoom level. There is no way to determine the bit depth of the layer s being processed during events. However, you can cache the last-known pixel depth in your sequence data. After Effects manages parameters with a much richer message stream than custom UIs.
During the click event, the plug-in converts the coordinates of the click into layer space, and stores that information in sequence data.
It then forces a re-render, during which it has access to the color of the layer point corresponding to the stored coordinates. The plug-in stores the color value in sequence data, and cancels the render, requesting a redraw of the affected parameter s. Finally, during the draw, the plug-in adds appropriate keyframes to its color parameter stream using the KeyframeSuite.
We provide high quality resampling. Also, several engineers on our team are audio fanatics, and ensure that our audio effects and the whole audio pipeline are of the highest quality. This registers the effect to receive updated phase information from After Effects during audio rendering. To understand what this flag does, turn it off and check your output. When amplitude is zero, After Effects is at db.
However, it is a relatively simple matter for the user to extend the length of the clip before applying your effect. Apply time remapping to the layer and simply extend the out point. Document the steps users should take when applying your effect.
Audio filters encounter different issues than do image filters. Investigate the SDK sample for one possible implementation of audio rendering. AEGPs can add and remove items to projects and compositions, add and remove filters and keyframes. AEGPs can publish function suites for plug-ins, manipulate all project elements, change interpretations, replace files and determine which external files are used to render a project.
They are all still AEGPs, but have access to specialized messaging streams, for which they register with After Effects. This is not the case with AEGPs. They can be simple, just adding one menu item to trigger an external application, or complex like Artisans. While any plug-in can access any function suite, only plug-ins of the appropriate type will have access to all the required parameters. Only Artisans will have render contexts, and only AEIO plug-ins will receive input and output specifications; messaging is dependent upon which hook functions are registered.
While in some cases it might be more efficient to simply modify the underlying structure, by maintaining the opaqueness of the data types we allow for changes to our implementation without making you recompile and redistribute your plug- ins. And of course, unlock it when you’re done. Interior nodes of the tree are folders. As of CS6, there will only ever be one open project. An item is anything that can be selected. A composition exists over a time interval.
Multiple compositions can exist within one project. Solids, text, paint, cameras, lights, images, and image sequences are all represented as layers. Layers may be defined over sub-intervals of the composition’s time interval. An effect is a function that takes as AEGP Effect Suite its argument a layer and possibly other parameters and returns an altered version of the layer for rendering.
A mask is a rasterized path sequence of vertices that partitions a layer into two pieces, allowing each to be rendered differently. Do not cache layer pixels. Caching references between calls to a specific hook function within your plug-in is not recommended; acquire information when you need it, and forget release it as soon as possible. For the following data types, you must call the appropriate disposal routines. AEGPs are not loaded in a specific order.
This is very different from the effect plug-in model, where all communication comes through the same entry point. Rather, wait until the appropriate hook function s. Similarly, plug-ins which process commands register a CommandHook one for all commands. Use a different ID for each menu item you add. Your menu item s will be permanently disabled unless you register a menu updating function.
No matter how many menu items you add, you register only one CommandHook. For example, keyframing plug-ins may want to disable their menu items unless a keyframe-able parameter stream is part of the current selection. This becomes especially important when dealing with multi-threading issues. If this causes problems and it may , provide code that attaches saved handles to specific instantiations of your plug-in.
Everything must be done from the main thread, either in response to a callback, or from the idle hook. But since SPBasicSuite itself is not thread safe, you’ll need to stash off the function pointer in the main thread. Following is a description of each function in every suite, and, where appropriate details on using those functions.
Use this suite! Whenever memory-related errors are encountered, After Effects can report errors for you. Used in conjunction with the Register Suite. Register Suite Used in conjunction with the Command Suite to add functions to menu commands.
Item Suite Manages items within a project or composition. Folders, Compositions, Solids, and Footage are all items. Collection Suite Query which items are currently selected, and create your own selection sets. Composition Suite Manages and creates compositions in a project, and composition-specific items like solids.
Footage Suite Manages footage. Layer Suite Provides information about the layers within a composition, and the relationship s between the source and layer times. Solids, text, paint, cameras, lights, images, and image sequences can all become layers. Effect Suite Provides access to the effects applied to a layer.
Use Stream suites to obtain effect keyframe information. Dynamic Stream Suite Used to access the characteristics of dynamic streams associated with a layer. Marker Suite Used to manipulate markers. Text Document Suite Used to access the actual text on a text layer. Text Layer Suite Used to access the paths that make up the outlines of a text layer. Persistent Data Query and manage all persistent data i.
AEGPs Suite can also add their own data to the prefs. Sound Data Suite Functions for managing and accessing sound data. Render Queue Suite Add and remove items from the render queue.
Render Queue Item Query and modify items in the render queue. Output Module Suite Query and modify the output modules attached to items in the render queue. Show the user a message indicating the nature of the problem. Attempt to acquire and use an earlier version of the same suite. Since AEGPs are so deeply integrated with After Effects, make sure that users know who or what is encountering a given problem.
Identify yourself! Whenever memory related errors are encountered, After Effects can report errors for you to find early on. This memory is guaranteed to be byte aligned. Use whatZ to identify the memory you are asking for. After Effects uses the string to display any related error messages.
Can be nested. Always balance lock calls with unlocks. Make use of this during development! Use the Register Suite to register a handler for the command. Determine which command was sent within this hook function, and act accordingly.
This hook function handles updates for all menus. Called when the application quits. See the Artisan chapter for more details. See the AEIO section for more details. In English the tab character will simply be removed. Support for multiple projects is included to prepare for future expansion; After Effects currently adheres to the single project model. Use caution: the functions for opening and creating projects do not save changes to the project currently open when they are called!
After Effects can have only one project open at a time. NOTE: This will overwrite an existing file. NOTE: Will close the current project without saving it first! If a Composition, Timeline, or Footage window is active, returns the parent of the layer associated with the front- most tab in the window. Returns NULL if no item is active. This call selects items in the Project panel. Not updated while rendering.
Sets the color of an existing solid error if itemH is not a solid. Sets the dimensions of an existing solid error if itemH is not a solid. The newly created folder is allocated and owned by After Effects. First acquire the current collection, then iterate across its members to ensure that whatever your AEGP does is applicable to each. To erase the first item, you would pass 0 and 1, respectively. Measured in pixels X by Y. Users can choose a custom downsample factor with independent X and Y.
This will open the comp as a side effect. Retrieves the motion blur adaptive sample limit AdaptiveSampleLimit for the given composition. As of CC, a new comp defaults to Specifies the motion blur adaptive sample limit AdaptiveSampleLimit for the given composition. As of CC, both the limit and the suggested values are clamped to [2,] range and the limit value will not be allowed less than the suggested value.
If you pass NULL, or an invalid time scale, duration is set to the length of the composition. Sets the displayed start time of a composition has no effect on the duration of the composition. Sets the duration of the given composition. If you pass 0, or an invalid time scale, duration is set to the length of the composition. Must be disposed by caller. Returns the proxy footage handle. Note: a composition can have a proxy. Retrieves the footage path for a piece of footage or for the specified frame of a footage sequence.
Footage will be adopted by the project, and may be added only once. Will be adopted by the project. The item will replace the main footage for this item. Do not dispose of footage you did not create, or that has been added to the project. Adds a new placeholder footage item to the project. As most After Effects usage boils down to layer manipulation, this is among the largest function suites in our API. Zero is the foremost layer. If a Layer or effect controls palette is active, the active layer is that associated with the front-most tab in the window.
If a composition or timeline window is active, the active layer is the selected layer if only one is selected; otherwise NULL is returned. This value is not updated during rendering. A composition cannot be added to itself, or to any compositions which it contains; other conditions can preclude successful adding too.
Adding a layer without first using this function will produce undefined results. All AV layers are either 2D or 3D. This ID never changes during the lifetime of the project. Can you believe it took us three suite versions to add a delete function? Neither can we. Get the sampling quality of a layer. Sets the sampling quality of a layer see flag values above.
Option is explicitly set on the layer independent of layer quality. This suite provides access to all parameter data streams. This is how AEGPs communicate with effects. UI names are in the current application runtime encoding; for example, ISO for most languages on Windows.
Caller must dispose of duplicate when finished. How many masks are on this effect? Add an effect mask, which may be created using the Mask Suite. Returns the local stream of the effect ref – useful if you want to add keyframes. Remove an effect mask. Set an effect mask on an existing index.
Tricky, eh? Just about everything in After Effects is a stream. Effect parameters, layers, masks, and shapes are all internally represented by streams. The After Effects timeline can contain numerous object types; each object supports a set of parameters called streams. But the way you access each type of stream varies because of their containment. A stream, once acquired, represents a value which may change over time.
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You can also watch various After Effects tutorials that are widely available on the Internet, especially YouTube, for you to learn. Click the button below to get After Effects Free Download link. There is a setup file for 64 bit only. Moreover, the crack is already included for the latest After Effects v For more detailed instruction, follow the guidance text provided to use this software.
Password : kadalinfree. Save my name, email, and website in this browser for the next time I comment. Hard Disk Space : 5 GB of free space required. Processor : Multicore Intel processor or higher.
Full Setup Size : 2. Setup Type : File Installer with Crack. Compatibility Architecture : Only for 64 Bit x Latest Release Added On : March 18th, Roto Brush 2 can split your object from the background easily. Clear unwanted object with the new Content-Aware Fill. When getting started with this compositing and visual effects software, you’re greeted with a very complex user interface that has many different options and layouts for video creators.
Thankfully, everything doesn’t have to be visible and you can navigate through the effects and tools that are necessary for the project. Thankfully when starting the application, you have the option to be given a tour of the Adobe After Effects so that new users can get an idea of what tools are available, how to access them and how to get started creating a video project.
Advanced effects, transitions and animations After adding media to the project, creating a composition is a pretty straightforward first task. After that, you can add a number of different video and transition effects to video clips located in the composition timeline. They range from beautiful 3D and even 4D effects along with retouching, color and brightness adjustments just to name a couple.
Not only can you apply these animations to videos, but also create wonderful effects to text, geometric shapes and boxes or other objects created in After Effects , Photoshop , Illustrator and Premiere Pro. The biggest drawback when working with heavy software is the frequent shutting down of the software program.
This leads to loss of already done work and is definitely frustrating when you have to redo the whole things from scratch. The latest version of Adobe After effects has been designated with an auto-save feature where the project that you are working on gets saved on a regular basis at a particular time rate.
This feature is well-accepted especially in Adobe After effects. You can download the installer file for adobe after effects by accessing the link below. Make sure that you meet the minimum requirements to ensure that the software runs without any hassles.
License Shareware File Size 2. Adobe After Effects v Alternate Link. Share this: Twitter Facebook. Download Adobe Reader For Mac and Windows The existing scenario of the world is that there are a lot of things that….