SFX & VFX

1. What is mean by Compositing ? Where it can be applicable ?

(5)
ANS:

1. It is the seamless amount of layers that contains still Images, Videos that
merged one after the other in a layer sequence so that the final output
obtained is layer integrated final composite.

Compositing is of 2 types

1) 3d Compositing

2) Film Compositing

3d Compositing: It involves in a world of Broadcast design and

advertising field.

Film Compositing: It involves in the world of Feature film works.

Compositing can be applicable in mostly in Broadcast and films it related to Keyframe
animation,Animated Tile Designing, Color Correction, Matting, Keying, Tracking and
so on.

2. How to import Photoshop layers in After Effects ?

(5)

Ans:

Generally Photoshop Files are having multi layered files so that we can’t
directly import the Photoshop file in After Effects. If we are importing multi layered
Photoshop file the option are

1) Merged

2) Individual

3) Composition cropped layers

Merged: It takes all the layers in Photoshop file as a single file

Individual: It takes all the individual layers of Photoshop files as separate layers
in the timeline.

Composition Cropped Layers:

It takes all the layers of the Photoshop file as a composition size in After Effects.

3. How to animate the Motion Key frames in After Effects ?

(5)

ANS :

By Moving one point to other it creates the motion path

Distance is equals to speed over time it means in after effects it consider as feet’s
per sec.

When you want to create the motion path and to get very precise animation, After
effects provide automate time adjustment in the timeline.

Auto orientation: The object automatically moves along the path

Shft key: Transform Auto orient

To get smooth animation after effects provide with inbuilt Plugin called key frame
assitant in that it is having 3 options
1) Easy ease (Equals the speed)
2) Easy in (High speed curve to slow motion)
3) Easy out (Slow motion to high speed)

Toggle hold frame it creates the frame hold between every single frame (Strobe
effect)

5. Explain about the Paint in After Effects.

(5)

ANS:

Paint is a vector based object, they are paint stokes that are created in after
effects unlike they are not the bitmap objects.
Paint can be highlighted by double clicking on the layer in the timeline.

Paint is having 3 options :

1) constant
2) write on
3) single frame

constant: It creates a paint stoke all along the path in the timeline. And in that paint
stoke can be animatable.

write on: It creates a write on when the paint stoke is made. It automatically
generates a key frame from starting point and ending point.

Single frame: It creates a single paint stoke per frame.

Other option tools for Paint are
1) Cloning
2) Eraser

Cloning : It creates a duplicate paint stroke what you have selected on the original
Object. It clone the layer

Eraser: It erases the paint object or erases directly on the footage that means in that
erased portion it gives alpha portion.

6. Explain about the Graph Editor?

Ans

To view and manipulate all aspects of effects and animations, including effect
property values, key frames, and interpolation, use the Graph Editor. The
Graph Editor represents changes in effects and animations as a two-
dimensional graph, with playback time represented horizontally (from left to
right). In layer bar mode, on the other hand, the time graph represents only
the horizontal time element, without showing a visual representation of
changing values.
There are two types of graphs available in the Graph Editor: value graphs,
which show property values; and speed graphs, which show rates of change of
property values.

Click the Graph Options button at the bottom of the Graph Editor, and select
from the following options:
Auto-Select Graph Type Automatically selects the appropriate graph type for a
property: speed graphs for spatial properties (such as position), and value
graphs for other properties.
Edit Value Graph Displays the value graph for all properties.
Edit Speed Graph Displays the speed graph for all properties.
Show Reference Graph Displays the unselected graph type in the background
for viewing only. (The gray numbers to the right of the Graph Editor indicate
the values for the reference graph.)
 Show Audio Waveforms Displays the audio waveform for any layer that has at
least one property in the Graph Editor.
Show Layer In/Out Points Displays In and Out points of all layers that have a
property in the Graph Editor.
Show Layer Markers Displays layer-time markers in the Graph Editor, if they
exist.
Show Graph Tool Tips Toggles the graph tool tips on and off.
Show Expression Editor Shows or hides the expression editor field.
Allow Keyframes Between Frames Allows placement of keyframes between
frames for fine-tuning animation.

Using the Snap button

When you drag a keyframe in the Graph editor with the Snap button toggled,
the keyframe snaps to the following items:
Keyframes (both vertically and horizontally)
Current-time indicator
In/Out points
Markers
Work area start/end
Composition start/end
Auto Zoom Height Toggles Auto Zoom Height mode, which automatically scales
the height of the graph so that it fits the height of the Graph Editor. The
horizontal zoom must still be adjusted manually.
Fit Selection Adjusts the value (vertical) and time (horizontal) scale of the
graph to fit the selected keyframes in the Graph Editor.
Fit All Adjusts the value (vertical) and time (horizontal) scale of the graph to fit
all of the graphs in the Graph Editor.

7. Explain about the various Matte techniques in After Effects ?

(5)

ANS:

Matte is an alpha sequence having white channel for opacity (opaque) and black or
gray channels for transparency.
If we set the matte for any particular layer it takes the pixels of the matte to the
layer but not the position data.
Mattes are also special kind of masks that can be applies to any particular layer.

Alpha mattes: It takes alpha portion of the image or channels if it is having alpha
channel.

Luma matte: It takes the gray scale value in the layer (Black and white pixels)

Stencil : It takes off the full transparency of one layer and composite into other
layer.
Track mattes: It takes luminance value channel matte and fits on the original
composite layer.

Sht keys: ctrl (alpha matte)+drag on the original layer

 8. Explain about the Tool Palette?
Ans

Tool panel
A. Selection B. Hand C. Zoom D. Rotation E. Orbit Camera, Track XY Camera,
Track Z Camera F. Pan Behind G. Rectangular Mask, Elliptical Mask H. Pen,
Add Vertex, Delete Vertex, Convert Vertex I. Horizontal Type, Vertical Type
J. Brush K. Clone Stamp L. Eraser M. Axis Mode buttons

9. Explain about the 3:2 pulldown ratios? Where it can be applied?

(5)

ANS:
When you transfer 24-fps film to 29.97-fps (NTSC) video, you use a
process called 3:2 pull down, in which the film frames are distributed across
video fields in a repeating 3:2 pattern. The first frame of film is copied to
fields 1 and 2 of the first frame of video, and also to field 1 of the second
video frame. The second frame of film is then spread across the next two
fields of video--field 2 of the second video frame and field 1 of the third frame
of video. This 3:2 pattern is repeated until four frames of film are spread over
five frames of video, and it is then repeated.

The 3:2 pulldown process results in whole frames (represented by a W) and

split-field frames (represented by an S). The three whole video frames
contain two fields from the same film frame. The remaining two split-field
frames contain a video frame from two different film frames. The two split-
field frames are always adjacent to each other. The phase of 3:2 pulldown
refers to the point at which the two split-field frames fall within the first five
frames of the footage.

Phase occurs as a result of two conversions that happen during 3:2 pulldown:
24-fps film is redistributed through 30-fps video, so each of four frames of
24-fps film is spread out over five frames of 30(29.97)-fps video. First, the
film is slowed down 0.1% to match the speed difference between 29.97 fps
and 30 fps. Next, each film frame is repeated in a special pattern and mated
to fields of video.
 When you apply 3:2 pulldown to footage, one frame of the film (A) is
separated into two or three interlaced video fields (B), which are grouped into
video frames containing two fields each.

10.Explain how to apply Animation Presets for the footages?

Ans

To apply an animation preset

Select one or more layers.
Do one of the following:
Select the animation preset in the Effects & Presets panel, and then drag the
preset to the selected layer in the Timeline, Composition, or Effect Controls
panel.
To apply a recently used or saved animation preset, choose Animation > Recent
Animation Presets, and then choose the animation preset from the list.
To apply selected effects from within an animation preset, press Ctrl (Windows)
or Command (Mac OS), select the effects in Effects & Presets, and then drag
them to the Timeline, Composition, or Effect Controls panel. If the individual
effects and properties within an animation preset do not appear, choose Show
Preset Contents from the Effects & Presets panel menu.
Choose Animation > Browse Presets, navigate to the animation preset you
want, and then double-click the animation preset to apply it to the selected
layer.
Make sure that Show Animation Presets and Show Preset Contents are selected
in the Effects & Presets panel menu.
Expand the preset in the Effects & Presets panel.
Do one of the following:
Select the layer in which you want to use the preset component, and double-
click the property you want to apply.
Drag the property to a layer in the Composition panel or Timeline panel.

Saving animation presets

You can save settings of one or more effects as an animation preset. Saving an
effect as an animation preset also saves any set keyframes, as well as
expressions used in the effect. For example, if you created an explosion using
several effects with complex parameter and animation settings within those
 effects, you can save all those settings as a single animation preset. You can
then apply that animation preset to any other footage, or you can apply any
single effect from that animation preset to any footage. The 20 most recently
saved or applied animation presets appear under Recent Animation Presets in
the Animation menu.
Animation presets also appear in the Animation Presets menu in Effect Controls
and in Effects & Presets. The Animation Presets menu in the Effect Controls
panel lists only those animation presets that contain the current effect. For
example, if the Mirror effect is selected, the menu will show only those presets
that include the Mirror effect. If the Animation Presets category in Effects &
Presets does not appear, choose the Show Animation Presets option from the
Effects & Presets panel menu.
Note: When you apply an effect from the Animation Presets pop-up menu, only
the current effect from the animation preset is applied.

11.Explain about the 3D-Transformation controls in After Effects ?

(5)

ANS:

After Effects can display layers in two dimensions (x, y) or three dimensions
(x, y, z). When you specify a layer as three-dimensional (3D), After Effects
adds the z axis, which provides control over the layer's depth. As you increase
the z value, the layer moves farther away in space; as you decrease it, the
layer moves closer. Using three dimensions lets you create layers that more
realistically reflect light, cast shadows, and move through space.

You can specify any layer, except an adjustment layer, as 3D. You can also
create and animate camera and light layers to view or illuminate 3D layers
from any angle. Though you can import composited files with 3D information
into After Effects, you cannot manipulate the objects of those files nor can
you create models within the program.

Usually, scaling a layer's z axis has no effect on the layer because the layer
itself has no depth. To add depth, you can change the position of the layer's
anchor point or establish a parenting relationship with other layers. Once you
add depth, scaling the layer's z Scale value appears to change the layer's
position.

12.Explain about the lighting and light controls in After Effects ?

(5)

ANS:
Lights are layers that shine light on other layers.You can choose among four different
types of lights and modify them with varying settings. Lights, by default, point to the
point of interest. For information on the point of interest.

You can specify which 3D layers a light affects by designating the light as an
adjustment layer--place the light in the Timeline window above the layers on which
you want it to shine. Layers that are above a light adjustment layer in the Timeline
window do not receive the light, regardless of the light's position. 3D adjustment
layers have a subtle effect. You can rotate them and work with them in 3D, but they
do not allow 3D layers lower in the Timeline window to intersect.

To create a new light:

1. From the Timeline or Composition window, choose Layer > New >
Light.
2. In the Light Settings dialog box, specify any of the following settings:
Light Type

Parallel light rays emanate directional, unconstrained light from an infinitely

distant source. A Spot light emits light from a source that is constrained by a
cone, like the spotlight used in stage productions. A Point light emits
unconstrained omnidirectional light, like the rays emitted from a bare light
bulb. Ambient light has no source but rather contributes to the overall
brightness of a scene and casts no shadows.

Intensity

Sets the brightness of the light. Negative values create nonlight. Nonlight
subtracts color from a layer. For example, if a layer is already lit, creating a
directional light also pointing at that layer and employing negative values
creates an area of negative light, or a dark area, on the layer.

Cone Angle

Sets the width of the Spot light by adjusting the angle of the cone
surrounding the source. This option is active only if Spot is the Light Type.

Cone Feather

Adjusts the edge softness of the Spot light. This option is active only if Spot is
the Light Type.

Color

Sets the color of the light.

Casts Shadows

Indicates whether the light source causes a layer to cast a shadow.

Shadow Darkness

Sets the darkness level of the shadow. This option is active only if Casts
Shadows is selected.

Shadow Diffusion
 Sets the softness of a shadow based on its apparent distance from the shadowing
layer. Larger values create softer shadows. This option is active only if Casts
Shadows is selected.
13.Explain about Time steching in After Effects ?

(5)

ANS:

When you time-stretch a layer, the audio file or the original frames in the
footage (and all keyframes that belong to the layer) are redistributed along
the new duration. Use this command only when you want the layer and all
layer keyframes to change to the new duration.

If you time-stretch a layer so that the resulting frame rate is significantly

different from the original speed, the quality of motion within the layer may
suffer. Turn on frame blending to improve slow-motion or fast-motion effects.

To time-stretch a layer from a specific time:

In the Timeline or Composition Window, select the Layer

1) Choose layer>Time remap

2) Type a new duration of a layer or type a strech factor

3) Click one of the Hold In Place options to specify the point in time from
which the layer will be time-stretched, and then click OK
a. Layer In-point holds the layer's current starting time, and time-
stretches the layer by moving the Out point.
b. Current Frame holds the layer at the position of the current-time
indicator (also the frame displayed in the Composition window),
and time-stretches the layer by moving the In and Out points.
c. Layer Out-point holds the layer's current ending time and time-
stretches the layer by moving the In point.

To time-stretch a layer to a specific time:

1) In the Timeline window, move the current-time indicator to the

frame where you want the layer to begin or end.

2) Display the In and Out columns in the Timeline window by choosing

Columns > In and Columns > Out from the Timeline window menu.

3) To stretch the In point to the current time, press Ctrl (Windows) or

Command (Mac OS) as you click the In time for the layer in the In
column

4) To stretch the Out point to the current time, press Ctrl (Windows) or
Command (Mac OS) as you click the Out time for the layer in the Out
column.
___________________________________________________________________

14.What are Expressions ? How they are created and useful in After
Effects ?
(5)
ANS:

When you want to create a complex animation, such as car wheels spinning,
but would like to avoid creating tens or hundreds of keyframes by hand, try
using expressions instead. With expressions, you can create relationships
between layer properties and use one property's keyframes to dynamically
animate another layer. For example, if you set rotation keyframes for a layer
and then apply the Drop Shadow effect, you can use an expression to link the
Rotation property's values with the Drop Shadow's Direction values; that way,
the drop shadow changes accordingly as the layer rotates.

Expressions can seem intimidating for those who aren't familiar with scripting
or JavaScript. Fortunately, After Effects makes expressions easy to use and
easy to learn through the expression pick whip . The pick whip is a tool in
the Timeline window that you can drag to connect any two properties. Once
you drag the pick whip to a particular property, the expression automatically
appears in the expression field in the Timeline window. You can easily learn
the syntax and format for expressions by looking at the expressions that the
pick whip creates.

___________________________________________________________________
15. Explain about the Time Remapping ?
(5)

ANS:

In After Effects you can easily expand, compress, play backward, or freeze a
portion of a layer's duration using a process known as time-remapping. For
example, if you are using footage of a person walking, you can play footage
of the person moving forward, and then play a few frames backwards to
make the person retreat, and then play forward again to have the person
resume walking.

You can also time-remap layers containing audio or both audio and video.
When you apply time-remap to a layer containing audio and video, the audio
and video remain synchronized. You can remap audio files to gradually
decrease or increase the pitch, play audio backwards, or create a warbled or
scratchy sound.

______________________________________________________________
16.Explain about the color correction in After Effects ?

ANS:

Fine tunes the colors in regions that have changed in a color image. For
example, if you increase the Shadows Amount value, you bring out colors that
were dark in the original image. You may want these colors to be more or less
 vivid. Adjust the Color Correction slider to give the best results. In general,
increasing values tend to produce more saturated colors, and decreasing
values produce less saturated colors.

Note: Since the Color Correction value affects only changed portions of the
image, the amount of color variation depends on how much or little Shadows
Amount or Highlights Amount is applied. The greater the correction to the
shadows and highlights, the greater the range of color correction available.
The Color Correction value applies subtle control over the darkened or
lightened colors in the image. If you want to change the color hues or
saturation over the whole image, use the Hue/Saturation effect after applying
the Shadow/Highlight effect.

Midtone Contrast

Adjusts the contrast in the midtones. A negative value reduces contrast, and
a positive value increases contrast. An increase in Midtone Contrast
adjustment produces greater contrast in the midtones while tending to darken
the shadows and lighten the highlights.

Black Clip and White Clip

Specify how much of the shadows and highlights are clipped to the new
extreme shadow (level 0) and highlight (level 255) colors in the image. Larger
values produce an image with greater contrast. Be careful of setting the
clipping values too large, as this reduces detail in the shadows or highlights
as the intensity values get clipped and sent to pure black or white.

14.) Explain about the Keying Techniques in AfterEffects

(5)

ANS:
After Effects includes several different effects that key out, or make
transparent, parts of an image. Each effect is called a key, and the color
specified for transparency is called the key color. A key locates pixels in an
image that match the specified key color and makes them transparent or
semitransparent, depending on the type of key. When you place a layer over
another layer using transparency, the result forms a composite, in which the
background is visible wherever the first layer is transparent, making the first
layer appear to be part of the background. After Effects various keying
techniques in that

1) Color Key : It extractes the alpha matte from any given colour i.e Red,
Green, Blue or any other colour.

2) Extract : It extractes the luminance value in the footage and generates

the matte

3) Linear key : This key is based on Blue screen and Green screen
techniques.
 4) Luma Key : This key is based on the luminance value.(Black and white
pixels)

5) Inner,outer key : This keying is based upon the masking techniques .This
key effect is only applicable when there is two masks inside and outside
should be there for the footage.

6) Spill suppresser : It generally based on the reflected colour i.e blue or

green colour that falls on the body. It removes the spill colour.

_______________________________________________________________
15. Explain about the Tracking concepts in After Effects ?

ANS:

After Effects' motion tracking feature lets you easily create composites and
dynamic visual effects regardless of whether the subjects or the camera (or
both) are moving. After Effects can follow or track the movement of a specified
area in a shot and then apply that movement to an effect, image, or other
footage. The resulting visual effect precisely matches the original moving
footage
Motion tracking has multiple uses:

• Combining elements filmed separately, such as adding video footage

to the side of a city bus or a star to the end of a sweeping wand.

• Animating a still image to match the motion of action footage, such as

making a cartoon bumblebee pursue a swaying flower.

• Adding effects that follow a moving element, such as applying a lens

flare to a scene where the camera pans or making a ball glow.

• Stabilizing footage, such as smoothing the wobble of footage shot with

a handheld camera.

Feature region

The feature region defines the area in the moving footage to be tracked. It
should surround a distinct feature. After Effects must be able to clearly
identify the feature throughout the footage, despite changes in light,
background, and angle.

Search region

The search region limits the area that After Effects must search to locate the
feature. The feature needs to stand out only within the boundary of the
search region, not within the entire frame. Confining the search to a small
region saves search time and makes the search process easier.

Attach point

The attach point designates the place of attachment for the target footage--
the layer, image, or effect that you want to synchronize with the motion
footage.
 ______________________________________________________________________

___________________________________________________________________

16. What is Masking ? How to create masking in After Effects ?

(5)

ANS:

Masking

Specifies the pixels you want to change using the luminance or alpha channel
of another layer. Mask Layer specifies the layer you want to use for your
mask. Masking Mode specifies the Mask Layer property to use.

Use the RotoBezier option in the Tools palette to create curved masks more
quickly. The RotoBezier option automatically calculates the curved segments
for you, thereby eliminating the need for direction lines.

You can convert any existing mask to a RotoBezier mask. However, Bezier
masks that have adjusted direction lines change shape when converted to
RotoBezier because After Effects calculates RotoBezier segments
automatically. You can convert RotoBezier masks to Bezier without affecting
the mask shape.

To create a RotoBezier mask:

1. In the Tools palette, select the pen tool, and then click the RotoBezier option.

2. In the Composition window, click to create a mask shape.

To convert a mask to a RotoBezier mask:

1. Select a mask in the Layer or Composition window.

2. Choose Layer > Mask > RotoBezier.

To change smooth corners to sharp corners using the RotoBezier mask option:

With the pen tool selected, Alt-click (Windows) or Option-click (Mac OS) an
existing vertex.

___________________________________________________________
 17. How do you explain about the interlaced footage in After Effects ?

ANS:

Another way to classify analog or digital footage is as interlaced or

noninterlaced. Currently, most broadcast video is interlaced; each frame
consists of two fields displayed in turn. The computer operating system and
After Effects display noninterlaced video, also known as progressive scan, in
which each frame is displayed completely from top to bottom. When you
finish creating a movie for display on a television, After Effects can render it
back to fields, maintaining high quality for broadcast display.

Interlaced video consists of two fields, known either as Field 1 and Field 2,
even and odd, or (as After Effects refers to them) upper and lower. When
these fields are presented sequentially on an NTSC or PAL video monitor, they
create a smooth, unified picture.

In interlaced video, a frame is divided into two fields. Each field contains
every other horizontal line in the frame. A TV displays the first field of
alternating lines over the entire screen, and then displays the second field to
fill in the alternating gaps left by the first field. One NTSC video frame,
displayed for approximately 1/30 of a second, contains two interlaced fields,

To separate video fields in imported footage:

1. Select the footage item in the Project window.

2. Choose File > Interpret Footage > Main.

3. Choose an option from the Separate Fields pop-up menu.

4. Click Motion Detect (Best Quality Only) to increase image quality in

nonmoving areas when the image is rendered at Best quality. Then click OK.

________________________________________________________________

18. Explain about the Precomposing in After Effects ?

(5)

ANS:
Precomposing is an easier way to nest layers within an existing
composition. Precomposing moves the layers to a new composition. When you
want to change the order in which layer components are rendered,
precomposing is a quick way to create intermediate levels of nesting in an
existing hierarchy.

When you precompose, one or more layers that you select move into a new
composition. This new composition takes the place of the selected layers--
something that does not occur in ordinary nesting. Precomposing also places
 the new composition in the Project window, available for use in any
composition.

After Effects offers two options for working with layer properties and
keyframes during precomposing:

To precompose one or more layers:

1. In the Timeline window containing the layers you want to precompose,
select the layers.
2. Choose Layer > Pre-compose.
3. Select Leave All Attributes In or Move All Attributes into the New
Composition, and then click OK.
_____________________________________________________________________
19. Explain about the Effects controls in After Effects ?
(5)

ANS:
When you apply an effect to a layer, the Effect Controls window opens;
the effect is listed there. Each layer to which you apply effects appears on its
own tab in the Effect Controls window. The effect is also listed in the Effects
section under the layer name in the Timeline window. If you apply additional
effects to the layer, they are listed under the first effect in the Timeline
window. Effects are rendered in order from top to bottom in this list. You
change the order in which effects are rendered by dragging the effect name
to a new position in the list.

To apply an effect to a layer from the Effects palette:

1. Locate and select the effect or effects you want to apply.
2. Double-click the selected effect or effects.
3. Drag the effect to the target layer on the Timeline window, either to
the layer name, Effect list heading, or to any spot in the existing list of
effects.
4. Drag the effect to the Composition window. The Info palette displays
the name of the targeted layer as you drag over it.
5. Drag the effect to the Effect Controls window.
To copy effects in a layer and paste them into other layers:
1. In the Effect Controls window, select one or more effects, and then
choose Edit > Copy.
2. In the Timeline window, select one or more layers, and then choose
Edit > Paste.

________________________________________________________________

20. What are the Rendering Techniques that can be applied in

After Effects ?

ANS:
When you create output, the layers of a composition and each layer's masks,
 effects, and properties are rendered frame by frame into one or more output
files or, in the case of a sequence, into a series of consecutive files.

After Effects provides a variety of formats and compression types for

rendering output; the format you choose depends on the medium from which
you'll play your final output or on the requirements of your hardware, such as
a video-editing system.

To make a movie from a Composition :

1) Click on the Ram Preview>the movie will be cached into the ram

2) Goto composition >save Rampreview (This will be the rampreview)

3) Goto composition>Make Movie(This will rendered as a movie)

4) Goto composition> Add to Render Queue (This will rendered the movie
in several different formats)

21.What is Combustion ? Explain about its features ?

(5)

ANS:

combustion 4 is the Discreet stand-alone powerful desktop solution for creating

stunning visual effects. It is a resolution-independent, vector paint, animation,
editing, and 2D/3D compositing software application for multi-format work, from the
web to video and HDTV to feature film
Combustion is a layer based compositing software package,It is having well
structured gui inteface so that the new user can able to handle the tools in a easy
manner.
Most probably combustion is used in Broadcasting and Feature films.
Is is having highend Paint tools and Masking tools.
It is having individual particle generator engine so that the users can able to
generate any kind of particle effects in real time.
It is having separate keying module .
Colour Correction tools in combustion provides users to control the rich
colorcorrection from Broadcast to Highend Feature films.
It provides the various colour spaces including the Linear and the Logarithmetic
colour spaces for conversation of tape to video.
____________________________________________________________

22. Explain about the Interface and Workflow in Combustion ?

(5)

ANS:

The main elements of the combustion user interface are the Workspace panel,
Schematic view, Timeline, operator controls panel, Toolbar, and viewports.
You display and interact with operators in viewports. For example, you can show a
composite and move layers, or you can show a Paint operator and move objects
(shapes, masks, text). A viewport can also show the Schematic view.

Use the viewports to display operators at any point in the process tree, and to play
clips in real time. As you work on projects, the results of your changes dynamically
update in the viewport.

The Schematic view, Workspace panel, and Timeline offer different ways to see the
process tree. Changes in one are reflected in the others. Use the Timeline to animate
your projects over time.

You can select an operator to set its parameters in the operator controls panel. This
panel and the Timeline are context sensitive, so they show parameters for the
selected operator. For example, when you select the Composite operator or one of its
layers in the Workspace panel, the Composite Controls panel appears.
The Toolbar shows the tools that you use as you work with operators. The Toolbar is
also context sensitive; it shows the tools for the current operator.
When you first start combustion, all the interface elements appear in their default
positions. You can choose which to display and you can choose to customize their
positions. Changes you make to the interface settings in the combustion
preferences are kept and saved the next time you launch the application.
_______________________________________________________________

23. How to apply operators in workspace in combustion ?

(5)

ANS:
An operator modifies a layer or a composite. For instance, you can use a
Keyer operator to key out a portion of a layer, and then use a Color Corrector
operator to color match the layer to the background.

Applying an Operator to a Layer

You can add operators to any layer in the workspace.

To apply an operator to a layer:

1. Double-click a composite to make it current.

2. In the current composite, select a layer.

3. From the Operators menu, choose an operator.

The operator controls appear. The operator is applied to the selected layer
over its entire duration.

4. Adjust the operator controls.

 24. How to do the keyframe animation in after effects ?

(5)

ANS:

Keyframing
You can animate a layer by setting at least two keyframes for the layer's categories
at different times. A keyframe is a point in time that records any change to a layer in
your workspace.

Before you can create keyframes, you have to enable the Animate button.
To animate a layer using keyframes:

1. To the right of the Playback controls, enable the Animate button (A).

2. Select a layer (for instance, we select the Vanes layer from the
illustration above to rotate the windmill's vanes).

3. Press the Home key to move to the first frame of the animation.

4. Use the Transform controls to set a rotation category at the first frame
of the animation. For instance, set the Z Rotation to 130°.

5. Click the Timeline tab, expand the layer that you want to animate, and
then expand the Transformation category.

____________________________________________________________________

25. How to do the Motion Path Animation in Combustion ?

(5)

Ans

To create a motion path for a layer in a composite:

1. In the Workspace panel, select the layer you want to animate.

2. Use the playback controls to move to the first frame (or press Home).

The motion path starts here.

3. Enable the Animate button (A).

4. In the active viewport, drag the selected layer to its starting position.
 5. Use the playback controls to move to the frame where you want to
create a second keyframe.

6. Drag the layer to its new location (you can also rotate, scale, or adjust
any other channel).

A keyframe is created, and the layer's motion path appears.

7. To change the shape of the motion path between keyframes, drag the
tangent handles at a keyframe.

8. You can also adjust the speed along the motion path using the Speed
channel.

26.Explain about the Expressions in Combustion

(5)

ANS:

You can also animate an object by adding an expression to its channels. You
can either add an expression to a channel based on the channel's value, add an
expression to a channel to link its value to the target channel, add a predefined
expression, or write your own expression. For those who are not very familiar with
JavaScript, you can use the Expression Browser to add a predefined expression. For
those who are familiar with JavaScript, you can use the Multi-line Editor to write your
own expression.

To add an expression to a channel:

Do one of the following:

• In the Timeline, right-click (Windows) or control-click (Macintosh) a

channel and choose Add Expression.

An expression is added to the channel based on the channel's value.

The Multi-line Editor is displayed and the expression script is selected.

• In the Timeline, select a channel, click Link (/) to create an absolute

path or Link (..) to create a relative path, and then select another
channel.

An expression is added to the selected channel linking its value to the

target channel—the second channel selected.

• In the Timeline, select a channel, click the Exp. Browser button; in the
Expression browser dialog, click an expression picon in the left pane,
and click OK.

The selected predefined expression is added to the selected channel.

• In the Timeline, select a channel, click the Exp. Browser button, and in
 the Expression browser dialog, click OK.

An expression is added to the channel based on the channel's value.

____________________________________________________________

27. Explain about the Paint tools in Combustion ?

(5)

ANS:
Paint is an interactive, vector-based and object-oriented drawing operator that you
apply to a layer as you would other operators. It allows you to perform a wide range
of painting tasks, from simple retouching, to motion tracking, to full cartoon
animation. As with other painting-type software packages, there are tools for
creating paint strokes, geometric shapes, text, selections, and masks.

Unlike other packages, every element you draw and create in the Paint operator is
non-destructive. As with all other operators in combustion, at any point in the
compositing process, you can go back into the Paint operator and modify the objects.
You can output Paint objects to .swf file format for your web projects.
Creating a Paint Object
You use the painting tools to create Paint objects such as rectangles and ellipses,
text, and brush strokes. In this example, we create a filled rectangle to use as a
banner in the composite.

To create a Paint object:

1. Select the layer that you want to "paint" and then choose
Operators | Paint.

A Paint operator is added to the layer.

2. Press the Home key to make sure you are positioned over the
animation's first frame.

3. Click the Toolbar tab.

4. Click the Filled Rectangle tool or click-drag the filled tool and select the
Filled Rectangle tool to create a filled rectangle.

5. Draw a rectangle over the lower left portion of the image

_______________________________________________________________

28.Explain about the Lights and Cameras in Combustion ?

(5)

ANS:
Composites in combustion can be 2D or 3D. Use lights to illuminate the surfaces in
your 3D composites, add depth with shadows and shading, and add realism to your
composites. Use the camera to navigate through the 3D landscape.
Adding Lights to a Composite
You can use lighting to add realistic effects and texture to your composites. The
combustion lighting controls are versatile and can be animated using keyframes or
expressions.

When combustion light strikes a layer, it is reflected and refracted, and it casts
shadows in the scene. The effect that light has on a layer depends on the surface
characteristics of the layer as much as it depends on the type, color, and intensity of
the light.
Viewing the Scene Through a Camera
The camera behaves like any other object in a 3D composite. You can move and
rotate the camera to view your composite from a different angle without disturbing
the elements within. You can add keyframes or expressions to the camera channels
to animate the viewpoint of a composite or to produce cinematic effects such as
dollies and truck shots.
When you are viewing the scene in Perspective view, the camera appears as an
element of your composite—you can see a visual representation of the camera and
its field of view.

____________________________________________________________

29.What are the Rendering techniques in Combustion ?

(5)

ANS:

Rendering the Finished Product

Once you finish your animation project, you must render it to create a finished movie
that can be played back on the device of your choice.

To render your composite as a QuickTime movie:

1. Choose File | Render, or press Ctrl+R (Windows.

2. The Render Queue dialog appears.

Rendering to RAM for Real-Time Playback

combustion provides two ways to render your work using your system RAM. The
first method is to simply use the playback controls to preview your work in a
viewport. Once combustion has buffered every frame in its memory once, the clip
will play at real-time playback speed, depending on the performance of your graphics
display card. You can continue to work on your projects, and the results of your
changes will dynamically update as the clip plays in the viewport.
To render to RAM:
 1. In the Workspace panel, double-click the operator that you want to
render.

2. Choose File | Render to RAM, or press Ctrl+Shift+R (Windows)

__________________________________________________________

30.How to create the Proxy Footage in Combustion ?

(5)

ANS:
You can create a low-resolution version of the footage for quicker feedback and lower
memory requirements. You do this in the Make Proxy dialog.

For example, if you are working with a film-resolution workspace, you can open the
film-size layers, and use the Make Proxy dialog to render an NTSC D1 or other-sized
version to disk from the original footage. You can then switch between the full
resolution version and the proxy as needed.

To make a proxy for a layer:

1. Select the Footage operator and show the Footage Controls panel.

2. Click the Make Proxy button.

3. Select a file format from the Format list. Click the Options button to
set the compression options for the selected format.

4. Select a frame size from the Frame Size list. To use a custom frame
size, enter a value in the Width and Height fields.

5. Click the Lock button to maintain the footage aspect ratio when you
enter custom height or width values.

6. Set the bit depth if necessary.

7. Specify the filename and location for the proxy. You can enter a file
path, or click Browse and navigate to the location where you want to
store the proxy.

8. Click Process.

The system renders a proxy of the selected layer. When rendering is

complete, the proxy is inserted in place of the original footage (the
footage is pixelated).

__________________________________________________________
 31.Explain about the Text controls in Combustion ?
(5)

ANS :
You can add text to a composite in several ways:

• Add a Text operator to a layer.

• Add a separate Text branch to a workspace.

• Create a new Text layer in a composite.

• Use the Text tool in the Paint operator.

When text is added to a layer, the effect on the layer in relation to the entire
composite is displayed only when you switch to the composite view. Like the Paint
operator, the Text operator works on the original footage of that layer.
Aligning and Distributing Text Objects
combustion offers the following text object alignment features:

• Align (justify) text objects horizontally or vertically to each other.

• Distribute text objects evenly.

You can distribute or align to left, center, or right (for Horizontal) or top, center, or
bottom (for Vertical). To align to the image, select one text object only. Otherwise,
the text objects align to the first object.

Aligning Text Objects

You can align a text object to the top, bottom, left, right, or center of the image. In
addition, you can align objects to other objects.
Is is possible to generate timecode in combustion in the text controls.

Layout Type Options

Use the Type list to select a type of animation for the text object.

Static—Enables the text to be animated by setting keyframes (just like animating

Paint or other objects).

Write On—Animates the visibility of the characters in the text object. Animating the
Write On value creates a "type on" effect. A Write On value of 0% displays no
characters, and a Write On value of 100% displays all characters. The character
completion progresses in the direction set by the character Direction settings in the
Text Basics controls.

The Write On option is available with all text Layout settings.

Roll Up—Scrolls the text block automatically up in the viewport.

Roll Down—Scrolls the text block automatically down in the viewport.

Crawl Left—Scrolls the text block automatically to the left in the viewport.

Crawl Right—Scrolls the text block automatically to the right in the viewport.

Completion/Speed—The crawl and roll animation types are controlled by the

Completion or Speed sliders. By default, a Completion value of 0% means the text is
offscreen. Increasing the Completion value "rolls" or "crawls" the text (depending on
the selected Layout Type).

The text automatically rolls or crawls when Speed is selected and the Layout Type is
set to Roll Up/Down or Crawl Left/Right. The default Speed is 500 (pixels per
second). Entering a lower value in the Speed field slows the animation; entering a
higher number in the Speed field speeds up the animation.
________________________________________________________

32.Explain about the schematic view in Combustion ?

(5)

ANS:
The Schematic view uses nodes to represent all the operators in a workspace, and
lines (connections) between nodes to indicate the flow of image data between the
operators. The output of one node is the source for the next node.
As you create composites and other branches (for example, Paint and Color
Correction projects), the process tree is built automatically. You can work directly
with the process tree in the Schematic view.
For example, you can add operators to a branch, change the process order of the
operators, and navigate easily between the operator controls.

The Schematic view complements the other navigation and editing tools—the
Workspace panel, the Timeline, the Controls panel, and the viewports. While each of
these tools displays data from the process tree in a different way, changes in one
tool are reflected in all the other tools.

For example, when you add a Paint operator to a layer in the Schematic view, a Paint
node appears. The same Paint operator appears in the layer in the Workspace panel.
To show the Schematic view:

1. If more than one viewport is showing, click the viewport in which you
want to display the Schematic view.

2. Do any of the following:

o Choose Window | Schematic, press F12

 33.Explain about the Channels in Combustion ?
(5)

ANS:
Color channels show the amount of the corresponding color present in the clip using
a grayscale image with a certain bit depth (for example, 8 bits). For more
information, Each branch has three color channels, one each for red, green, and
blue.

The alpha channel uses another grayscale image (with the same bit depth) to
determine which pixels are opaque and which are transparent for each frame. The
alpha channel is represented by a grayscale image embedded in the file. The
grayscale value determines the opacity: white pixels are opaque (100% opacity),
black pixels are transparent (0% opacity), and gray pixels represent varying degrees
of opacity.

Alpha Channels
You use alpha channels to determine how much of the front image shows over the
back image(s).

If you are looking through a keyhole inside a room, the door is the front, the keyhole
is the alpha, and the room is the back. Combined together, these layers form a
composite. The following illustration shows the function an alpha channel performs
when compositing
If you render the contents of the alpha channel, you get what is called a matte.

A matte can be completely black and white (called a "hi-con" for high-contrast), or
can contain many shades of gray. In video and film, mattes are rarely static, and are
rarely pure black and white. Any areas of the front containing transparency (glass,
smoke, curly blond hair) or motion blur appear in the matte as gray areas, allowing
the transparent (or blurred) areas to partially show through.

The process of generating a matte (from blue screen, for example) is also known as
"pulling" a matte. Getting as close as possible to the perfect matte is perhaps the
most important part of compositing. Because you are superimposing layers on layers
with the aim of creating a "reality," any imperfections in the matte can become
glaringly obvious and ruin the illusion.

34.Explain about the Audio spectrum and Audio waveform in

After Effects ?
(5)

ANS:
The Audio Spectrum effect displays the spectrum of an audio layer. It
displays the magnitude of frequencies in the range you define using Start
Frequency and End Frequency. This effect can display the audio spectrum in a
number of different ways, including along a Bezier path of a layer. Apply the
effect to a layer that contains a solid or an image, and that may contain
audio.

Note: This effect is a visual effect, not an audio effect, and it must be applied
 to a video layer.

Audio Spectrum Controls :

Adjust the following controls for the Audio Spectrum effect:

Audio Layer

Specifies the audio layer you want to display as a spectrum.

Note: Audio Spectrum uses the audio source footage without time-
remapping, effects, stretch, or levels. To graph this information, pre-compose
the audio layer before applying the effect.

Start Point, End Point

Specifies the position at which the spectrum starts or ends if Path is set to
None.

The Audio Waveform effect displays the waveform amplitude of an audio

layer. You can display the audio waveform in a number of different ways,
including along a Bezier path created by an open or closed mask of a layer.
Apply the effect to a layer that contains a solid or an image, and that may
contain audio.

Display Options

Specifies how to display the audio waveform. Digital displays each sample as
a single vertical line connecting the minimum and maximum source sample.
This option simulates the display used on digital equipment. Analog Lines
displays each sample as a line connecting the previous and next sample from
either the minimum or maximum audio source sample. This option simulates
the retrace seen in the display of an analog oscilloscope. Analog Dots displays
each sample as a dot representing either the minimum or maximum audio
source sample.

35. Explain about the Rotoscoping ?

(5)

ANS:

Rotoscoping can describe many different actions in the compositing

process,but,incombustion, it describes the act of painting an element into, or outof,
a scene. For instance, if you use wires to support a subject during shooting,you
canrotoscope the wires out of the scene during post-production, making the
subjectappear to be flying. You can use the Reveal tool to add an element to a scene
that was not present during shooting. You can also use a cloning tool to take one
element and make it into many (such as making one tree into a forest).

Sometimes, more subtle effects are needed, such as removing a logo from an object.
In this situation, you can use selection objects to select the object to remove, then
try blurring it so it is no longer recognizable, or you can use the Clone tool to copy a
part of the image on top of the logo.

Rotoscoping also refers to the process of drawing over live action to create realistic
looking animation

36. Explain about the Morphing Filters in Combustion ?

(5)

ANS:

By using this filter it is possible to transform one image into other or to morph
moving video charater to another.
Combustion is generally provide to different types of morph filters
AE RE:Flex Morph
Use AE RE:Flex Morph to morph from still image to still image. Morphing gradually
transforms an image in a front clip into an image in a back clip. The effect is
achieved by warping the two images and dissolving between the front and back clips.
The AE RE:Flex Morph includes the following:

• "Key images" are placed by the user along the timeline

• Morphing occurs by creating a set of geometry on the first key image,

then moving the set to corresponding places on each of the successive
key images

• In-between key images, the user can animate the geometries in order
to achieve a non-constant speed of morphing

• By default, the two images are linearly cross-dissolved. For finer

control, the amount of cross-dissolve can be specified for each piece of
matching geometries individually.

• If only one key image is specified, the user can animate a picture into
motion using a single set of geometry.

• Automatic alignment feature that can be used in conjunction with

hand-alignment for a combination of user and automatic feature
correspondence

AE RE:Flex Motion Morph

Use AE RE:Flex Motion Morph to create a moving morph. The AE RE:Flex Motion
Morph includes the following:

• Morph from one moving sequence to another

 • Speed of the warp for each matching geometry can be set individually

• Rate of dissolve can for each matching geometry can be set

individually

• Automatic alignment feature that can be used in conjunction with

hand-alignment for a combination of user and automatic feature
correspondence

AE RE:Flex Warp
Use AE RE:Flex Warp to perform free-form distortion of images, such as elongating
someone's nose. Morphing is a transition effect that matches the morphology of one
clip gradually to that of another clip, such as a human morphing into an alien. The
AE RE:Flex Warp includes the following:

• Warping is directed using sets of "from" geometries and "to"

geometries at each frame

• The amount of warping can be specified and animated with one

number

• Variable amount of shape blending between "from" and "to"

geometries can be specified per-shape

37. Explain about the Transition Filters in Combustion ?

(5)

ANS:

Transitions Filters
Animate Transitions filters to make one layer gradually disappear over a number of
frames and reveal the underlying layers.

To create a transition:

1. Click the Animate button to enable it.

The Animate button is red when enabled.

2. Go to the frame where you want the transition to start.

3. Select the layer that you want to make disappear (the outgoing layer).

4. Choose Operators | Transitions, and choose a transition from the

menu.

5. In the Transition controls, adjust the filter parameters. Leave the

Amount field set to zero.

This is the first keyframe for the transition.

6. Go to the frame where you want the transition to end (where the
 outgoing layer completely disappears).

7. In the Transition controls, set the Amount field to 100%.

This is the last keyframe for the transition.

8. Play the clip. Adjust the in-between keyframes if required.

The layer to which you applied the filter gradually disappears,

revealing the underlying image.
Block Dissolve
Use Block Dissolve to create blocks of transparency.
Amount—Determines the number of transparent blocks.

Horizontal Size—Determines the average horizontal size of the transparent blocks.

Vertical Size—Determines the average vertical size of the transparent blocks.

Feather Amount—Creates an opacity gradient at the edge of the transparent blocks

creating a smoother effect.

Circular Wipe
Use Circular Wipe to apply a circular transition to the image.
Gradient Wipe
Use Gradient Wipe to gradually reveal or hide a layer based on the values of pixels in
a separate channel, in the same or a different layer.
Linear Wipe
Use Linear Wipe to apply a transition with a linear edge.
Radial Wipe
Use Radial Wipe to apply a transition that rotates like the hands of a clock.
Venetian Blinds
Use Venetian Blinds to apply a mask in the shape of linear strips.

38. How to create the Nested composites in Combustion ?

(5)

ANS:

When you nest a composite, you move it (and everything it contains) onto a
singlelayer in another composite. This in a sense "collapses" the composite onto
thelayer, with an important difference—you can still modify all of the elements in
thenested composite. For example, you can move layers, add effects, and
importfootage just as you would normally.
To create a nested composite:

1.) Select a composite in the Workspace panel.

 2.) Select Object | New Layer, or press Ctrl+Y (Windows) or command+Y
(Macintosh).The New dialog appears.

3.) Choose Composite from the Type list.

4.) In the Name field, enter a name for the composite.

5.) Select a standard format from the Format Options list or select Custom to
create a custom format. For more information

6.) The corresponding properties (output size, frame aspect ratio, pixel aspect
ratio, and frame rate) appear in the Format Options box.

7.) In the Duration field, enter a duration in either frames or in SMPTE

timecode.

8.) To change the background color, click the Background Color box, select a
color from the Pick Color dialog that appears, and then click OK.

9.) Select a bit depth from the Depth list.Enable the 2D or 3D Mode button, and
click OK.

10.) A new layer is created in the original composite that contains the new
composite. The nested composite automatically becomes the current
operator.

Organizing Layers
You can nest a layer, or multiple layers, into a new composite to organize them in
the workspace. For example, nest several layers and then apply a Color Emboss
effect to them all.

When you nest a layer, all the operators on the layer (such as Footage and Box Blur)
will be moved into the nested layer. Whether or not the layer properties, such as
rotation or depth order, move to the nested layer is determined by the option you
choose when nesting. The options are Operators or Selected Layers.

39. How to work with the cameras in Combustion ?

(5)

ANS:

Working with Cameras

Use the combustion camera to animate fly-throughs, pans, dollies, rolls, and
craneshots. Matchmoving and the ability to work with RPF files make the camera a
robust and indispensable element in 3D composites.

About Cameras
You use cameras to define and "record" your viewpoint for rendering. To look
through the camera, set the viewport to Camera view. The camera behaves like any
other object in a 3D composite.
Note: There are no camera controls for 2D composites.

You can move and rotate the camera to view the composite from a different angle
without disturbing the elements within. For example, to see the composite from the
top, move the camera above the objects, and rotate it to point down. You can
keyframe the camera to animate the viewpoint of a composite or to produce
cinematic effects such as dollies and truck shots.

Camera Controls
These controls determine the properties of the camera "lens". If you import an RPF
or RLA file from 3ds max, you can also control how to use the file's camera
animation information.

Field of View—Controls the amount of space visible through the camera. The
greater the field of view, the farther away the scene appears.

Note: When changing the footage and composite pixel aspect ratio settings, be sure
to reset the camera as well, otherwise your camera will not have the correct Field of
View, and will not be set to produce the correct aspect ratio with non-transformed
layers.

Focal Length—Sets the distance of the focal point. As the focal length increases, the
field of view decreases and vice versa.

Aperture Width—Sets the size of the camera lens opening. This affects the Field of
View.

Stock Lenses—Provides several standard focal lengths. Click a button to set the
focal length and field of view.

RPF Transform Layer—Selects the layer in the composite that has camera
animation you want to use. Import Camera— Imports Ase file —target cameras
from 3ds max that were saved to an ASCII Scene Export (*.ase) file.

40. Explain about the Nullobject use in Combustion ?

(5)

ANS:
A null object is an invisible object; it has no pixel information or dimensions, and is not rendered
in the final output. You can create a null object to use as the camera target. The camera will then
focus on the null object wherever you move it in 3D space.

If you create multiple null objects, combustion appends an increasing number (in parenthesis) to
the name of each. For example, if you create three null objects, their default names are Null
Object, Null Object(2), and Null Object(3). You can rename them at any time.

To target to a null object:

1. Select the composite.

2. Choose Object | New Null Object.

Note: This option is also available in the context menu.

 A null object is added at coordinates 0, 0, 0.

3. Select the camera.

4. In the Composite Controls panel, select the null object from the Target list
You can now move the null object. If necessary, the camera changes rotation
to point at it.
5.

__________________________________________________________