How to Upload Transparent Png to After Effects

1. After Effects User Guide
   
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    7. Using the GoPro CineForm codec in Later on Furnishings
18. Working with other applications
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Preparing still-paradigm files for importing

You lot can import individual nonetheless images into Afterwards Effects or import a serial of still images as a sequence. For information nigh the yet-image formats that Subsequently Effects imports, meet Supported import formats.

After Effects works internally in an RGB color infinite, simply it tin import and catechumen CMYK images. However, when possible, you should work in an RGB color infinite in applications such equally Illustrator and Photoshop when creating images for video, moving picture, and other non-print media. Working in RGB provides a larger gamut and more accurately reflects your final output.

Earlier you import a nevertheless image into After Furnishings, prepare it as completely as possible to reduce rendering time. Information technology is usually easier and faster to gear up a notwithstanding paradigm in its original application than to change it in After Furnishings. Consider doing the following to an image before importing it into After Furnishings:

• Make sure that the file format is supported by the operating system yous programme to use.
• Crop the parts of the image that you practice not want to exist visible in Later on Effects.

Illustrator files can take partial dimensions (for example, 216.5x275.5 pixels). When importing these files, After Furnishings compensates for the partial dimensions by rounding upwardly to the adjacent whole number of pixels (for example, 217x278 pixels). This rounding results in a black line at the correct (width) or bottom (height) edge of the imported prototype. When cropping in Illustrator, make sure that the dimensions of the cropped surface area are whole numbers of pixels.

• If you lot want to designate areas as transparent, create an alpha channel or use the transparency tools in applications such as Photoshop or Illustrator.

• If final output will be circulate video, avoid using sparse horizontal lines (such as i-pixel lines) for images or text because they may flicker as a outcome of interlacing. If you must employ sparse lines, add a slight blur so that the prototype or text appears in both video fields instead of flickering between them. (See Interlaced video and separating fields and All-time practices for creating text and vector graphics for video.)

• If final output will exist circulate video, make sure that important parts of the paradigm fall inside the activeness-rubber and title-rubber zones. When yous create a document in Illustrator or Photoshop using a preset for picture show and video, the condom zones are shown equally guide lines. (See Safe zones, grids, guides, and rulers.)

• If the terminal output will exist circulate video, continue colors within the circulate-rubber ranges. (Meet Broadcast-safe colors.)

• Save the file using the correct naming convention. For instance, if you programme to import the file into Later Effects on Windows, employ a 3-grapheme filename extension.

• Set the pixel dimensions to the resolution and frame aspect ratio that you will utilize in After Effects. If you programme to scale the image over time, set paradigm dimensions that provide enough detail at the largest size the epitome has in the project. After Furnishings supports a maximum image size of xxx,000x30,000 pixels for importing and rendering files. The size of paradigm that you lot can import or export is influenced by the corporeality of physical RAM available to Subsequently Furnishings. The maximum composition dimensions are also xxx,000x30,000 pixels.

The image size or pixel dimensions setting in Photoshop (or other epitome-editing application) is relevant for the training of image data for import into After Furnishings—not dpi (dots per inch) or ppi (pixels per inch) settings. The prototype size determines how many pixels wide and tall an image is, whether those pixels are the tiny ones on a mobile device or the big ones on a motion billboard. The dpi or ppi settings are relevant to printing an paradigm and to the scale of copied and pasted paths.

Import a single notwithstanding prototype or a all the same-image sequence

You tin can import still epitome files as individual footage items, or you can import a serial of still image files equally a still-image sequence, which is a single footage item in which each still image is used every bit a single frame.

To import multiple image files as a unmarried nevertheless-image sequence, the files must be in the same folder and use the aforementioned numeric or alphabetic filename pattern (such equally Seq1, Seq2, Seq3).

When you lot import a file that appears to After Effects to be ane file in a still-image sequence, After Effects by default imports all other files in the same folder that announced to exist in the aforementioned sequence. Similarly, when you lot select multiple files that appear to be in a sequence, After Effects past default imports them as a sequence. Yous tin can meet what Later Effects is nigh to import by looking at the lesser of the Import dialog box. You tin also import images and sequences by dragging files and folders into the Project panel.

To forbid After Furnishings from importing unwanted files when you want to import only a unmarried file, or to prevent Later on Effects from interpreting multiple files as a sequence, deselect the Sequence choice in the Import dialog box. Later on Furnishings remembers this setting and thereafter uses it as the default.

Yous can import multiple sequences from the same folder simultaneously by selecting files from different sequences and selecting Multiple Sequences at the bottom of the Import dialog box.

When importing a sequence of still images, you can use the Force Alphabetical Order option in the Import dialog box to import a sequence with gaps in its numbering (for example, Seq1, Seq2, Seq3, Seq5). If you import a sequence with gaps in its numbering without selecting this option, After Effects warns yous of missing frames and replaces them with placeholders (if the Report Missing Frames option is checked in Edit > Preferences > Import).

Afterward Effects uses settings of the beginning image in the sequence to determine how to interpret the images in the sequence.

If the image files in a sequence are of a layered file type—such as Adobe Photoshop or Adobe Illustrator documents—then you can cull to import the sequence as a standard footage detail, or as a limerick in which each layer in each file is imported as a carve up sequence and appears as a separate layer in the Timeline panel.

When y'all return a composition that contains a numbered sequence, the output module uses the first frame number as the first frame number. For example, if you commencement to render on frame 25, the name of the file is 00025.

A sequence of still-image files (left) becomes one image sequence when imported into After Effects (right).

Verify private epitome sequence files

When you import paradigm sequence files in After Effects CC 2015.iii and after versions, it does not individually verify every file in the sequence. This accelerates the image sequence import process, especially when you import from network storage. However, if the sequence includes files that are aliases or shortcuts that do non resolve, for example if the bulldoze is offline, Subsequently Furnishings does not study those files as missing.

If you encounter unexpected missing frames while importing an image sequence, you lot tin enable the Verify Private Files option, which is comparatively slower, just verifies all files in the sequence (Edit > Preferences > Import and enable the Sequence Footage: Verify Private Files).

Choose File > Import > File.

Select any file in the sequence. To import a subset of files in a sequence, select the first file, hold down Shift, so select the last file to import.

Choose Footage from the Import As carte.

Click Open (Windows) or Import (Mac Bone).

If at whatever time you decide that you want admission to the private components of the footage item, you tin catechumen information technology to a composition. See Convert a merged footage particular into a limerick.

Import a even so-image sequence equally a composition

When yous import a Photoshop or Illustrator file equally a composition, you lot have access to the individual layers, blending modes, adjustment layers, layer styles, masks, guides, and other features created in Photoshop or Illustrator. The imported composition and a folder containing each of its layers as footage items appears in the Projection panel.

Cull File > Import > File.

Select any file in the sequence. To import a subset of files in a sequence, select the beginning file, hold downwards Shift, and so select the last file to import.

Choose 1 of the post-obit from the Import Equally card:

Composition - Retain Layer Sizes

Import the layers, each with its original dimensions.

One reason to import as a composition with layers at their original dimensions (rather than importing each layer at the composition frame size) is so that each layer has its anchor point set at the middle of the cropped graphics object, rather than at the heart of the limerick frame. This more oft makes transformations work more as you'd expect and prefer when animative individual layers of an imported graphic item. For example, if you have a auto with a separate layer for each wheel, importing as a composition with layers at their original sizes puts the ballast signal of each wheel in the center of the bike, which makes rotating the wheels work as you lot'd look.

Composition

Import layers and have the dimensions of each friction match the dimensions of the limerick frame.

Click Open up (Windows) or Import (Mac Bone).

When y'all import a layered file, such equally a Photoshop or Illustrator file, equally footage, all of its layers are merged together. If at any time you decide that you want access to the individual components of the footage item, you can convert it to a limerick.

• To convert all instances of a footage item, select information technology in the Project panel and choose File > Supercede Footage > With Layered Comp.
• To catechumen but i instance of the footage particular, select the layer in the Timeline panel, and choose Layer > Convert To Layered Comp.

It may have a few moments to catechumen a merged footage detail to a layered composition.

Change the frame rate of a sequence

When you import a sequence of notwithstanding images, information technology assumes the frame rate specified by the Sequence Footage preference in the Import category. The default rate is thirty frames per second (fps). You tin change the frame rate afterwards importing by reinterpreting the footage item:

Select the sequence in the Project panel, choose File > Interpret Footage > Principal, and and then enter a new value for Presume This Frame Rate.

For more information, see Frame rate.

Preparing and importing Photoshop files

In After Furnishings CS6 and later, video layers in Photoshop .psd documents are not supported.

Because After Effects includes the Photoshop rendering engine, After Furnishings imports all attributes of Photoshop files, including position, blending modes, opacity, visibility, transparency (alpha aqueduct), layer masks, layer groups (imported as nested compositions), adjustment layers, layer styles, layer clipping paths, vector masks, image guides, and clipping groups.

Before y'all import a layered Photoshop file into After Effects, gear up it thoroughly to reduce preview and rendering time. Avoid problems importing and updating Photoshop layers by doing the following:

• Organize and proper name layers. If you modify a layer proper name in a Photoshop file later you have imported it into After Effects, After Effects retains the link to the original layer. However, if y'all delete a layer, After Effects is unable to notice the original layer and lists it every bit Missing in the Project panel.

• Make sure that each layer has a unique proper noun. This is not a requirement of the software, simply helps to keep you from condign dislocated.

• If you recollect that yous might add layers to the Photoshop file in Photoshop later y'all take imported it into Afterward Furnishings, become ahead and add together a pocket-sized number of placeholder layers before you import the file into After Effects. When you refresh the file in After Effects, it will not pick up any layers that take been added since the file was imported.

• Unlock layers in Photoshop before importing into After Effects. This is not necessary for virtually kinds of layers, merely it is required for some kinds of layers. For example, groundwork layers that must be converted to RGB may not exist imported correctly if they are locked.

A convenient command within After Furnishings is Layer > New > Adobe Photoshop File, which adds a layer to a limerick and then opens the source of that layer in Photoshop for you to begin creating a visual element, such as a background layer for your picture. The layer in Photoshop is created with the correct settings for your After Effects composition. As with many of the Artistic Suite applications, you can use the Edit Original control in After Effects to open a PSD file in Photoshop, make and salve changes, and accept those changes appear immediately in the pic that refers to the PSD source file. Fifty-fifty if yous don't employ Edit Original, you can utilise the Reload Footage command to have Later on Furnishings refresh its layers to utilize the current version of the PSD file. (Meet Create a layer and new Photoshop footage item and Edit footage in its original application.)

I good style to prevent interlace flicker from sparse horizontal lines in even so images is to run the Interlace Flicker Removal action in Photoshop before you bring the nevertheless images into After Furnishings. Photoshop includes several video deportment for utility purposes such as this.

Layered Photoshop (PSD) files need to be saved in RGB or Grayscale color mode for After Effects to import them as a composition and to separate the layers. CMYK, LAB, Duotone, Monotone, and Tritone color modes are not supported for layered files; After Furnishings will import a file that uses one of these color modes as a single, flattened paradigm. (Regarding the other colour modes available in Photoshop such as Bitmap and Indexed: Photoshop does not support layers in these color modes.)

To decide or alter the color mode of a certificate in Photoshop, cull Paradigm > Mode. (The color style is also displayed in the title bar of the certificate window.)

Adobe Photoshop supports a transparent area and one optional layer mask (blastoff aqueduct) for each layer in a file. You can employ these layer masks to specify how different areas within a layer are subconscious or revealed. If you lot import one layer, Afterward Effects combines the layer mask (if present) with the transparent area and imports the layer mask every bit a directly blastoff channel.

If you import a layered Photoshop file as a merged file, After Furnishings merges the transparent areas and layer masks of all the layers into ane blastoff channel that is premultiplied with white.

When yous import a Photoshop file equally a composition, vector masks are converted to Afterwards Effects masks. You tin then modify and animate these masks inside Afterwards Furnishings.

Photoshop clipping groups, layer groups, and Smart Objects

If the layered Photoshop file contains clipping groups, After Effects imports each clipping group as a precomposition nested within the primary limerick. After Effects automatically applies the Preserve Underlying Transparency selection to each layer in the clipping-group composition, maintaining transparency settings. These nested precompositions accept the same dimensions as the main composition.

Photoshop layer groups are imported as individual compositions.

Information technology is often valuable to group layers into Smart Objects in Photoshop so that yous can import meaningful collections of Photoshop layers every bit individual layers in After Effects. For example, if you used 20 layers to create your foreground object and 30 layers to create your background object in Photoshop, yous probably don't need to import all of those individual layers into After Effects if all that yous want to do is animate your foreground object flying in front of your background object; consider group them into a single foreground Smart Object and a unmarried groundwork Smart Object before importing the PSD file into After Effects.

Photoshop layer styles and blending modes

After Effects likewise supports blending modes and layer styles applied to the file. When y'all import a Photoshop file with layer styles, you tin can cull the Editable Layer Styles option or the Merge Layer Styles Into Footage selection:

Editable Layer Styles

Matches appearance in Photoshop and preserves supported layer style properties as editable.

A layer with a layer style interferes with intersection of 3D layers and the casting of shadows.

Merge Layer Styles Into Footage

Layer styles are merged into the layer for faster rendering, but the appearance may not lucifer the advent of the image in Photoshop. This option doesn't interfere with intersection of 3D layers or casting of shadows.

Preparing and importing Illustrator files

Before yous save an Illustrator file for importing into Later on Effects, consider doing the following:

• Create your document in Illustrator using one of the Video And Picture certificate profiles. In improver to creating a document at the appropriate size for video or pic work, this creates a certificate with two artboards: 1 at the advisable frame size, and one much larger. When you bring such a document into Later on Furnishings, the area exterior the smaller artboard isn't cropped and lost; it'southward retained exterior of the limerick frame. This just works for an Illustrator document with multiple layers imported every bit a composition.

• To ensure that Illustrator files appear correctly in After Effects, select Create PDF Compatible File in the Illustrator Options dialog box.

• To re-create paths betwixt Illustrator and After Effects, make sure that the Preserve Paths pick is selected in the Files & Clipboard department of the Illustrator Preferences dialog box.

• To ensure that files rasterize most faithfully in After Effects, save your file in AI format instead of Illustrator eight.x or 9.x EPS format.

• To separate objects in an Illustrator file into split layers, apply the Release To Layers command in Illustrator. Then, you can import the layered file into Later on Effects and animate the layers separately.

• If yous are working with Edit Original to move objects and layers in Illustrator, import the Illustrator document into After Effects equally a composition with document-sized layers (not using the Retain Layer Size choice).

When you import an Illustrator file, After Furnishings makes all empty areas transparent by converting them into an alpha channel.

When you've imported an Illustrator file, you can specify whether anti-aliasing is to exist performed at college quality or at higher speed. Select the footage item in the Project panel and cull File > Interpret Footage > Main, and click the More Options button at the bottom of the dialog box.

After Effects does not read embedded colour profiles from Illustrator files. To ensure color allegiance, assign an input color contour to the Illustrator footage item that matches the color profile with which the Illustrator file was created.

Afterward Effects can't read blending modes from AI documents saved as a version afterward than Illustrator CS2. If you need to retain blending mode data when importing a file into After Furnishings from Illustrator, salve the document as an Illustrator CS2 document.

For data on preserving sharpness of vector graphics (fugitive pixelation), see Continuously rasterize a layer containing vector graphics.

Importing camera raw files with Camera Raw

You can import sequences of camera raw files much as you import sequences of other kinds of still image files.

Later on Effects applies the settings for the first camera raw paradigm in the sequence to all of the images in the sequence that do non have their ain XMP sidecar files. After Effects does not check the Photographic camera Raw database for paradigm settings.

Camera raw files are uncompressed. Their big size may increment rendering time.

• Cull File > Import > File.

• Select the camera raw file, and click Open.

• Brand any necessary adjustments in the Camera Raw dialog box, and click OK.

You can adjust a camera raw paradigm later importing it. To open the prototype in the Camera Raw dialog box, select the footage item in the Project panel, choose File > Interpret Footage > Main, and click More than Options.

A mutual function of the motion-picture film production workflow is scanning the moving-picture show and encoding the frames into the Cineon or DPX file format. The DPX (Digital Pic Exchange) format is a standard format closely related to the Cineon format.

You can import Cineon 4.5 or Digital Pic Commutation (DPX) files directly into an Later on Furnishings projection as private frames or every bit a sequence of numbered stills. Once you accept imported a Cineon or DPX file, yous tin can utilise information technology in a composition and then return the composition as an image sequence.

To preserve the full dynamic range of motion-pic film, Cineon files are stored using logarithmic ten-bpc color. Still, After Furnishings internally uses 8‑bpc, 16‑bpc, or 32-bpc color, depending on the color bit depth of the project. Work with Cineon files in a xvi- or 32-bpc project—past default, After Furnishings stretches the logarithmic values to the total range of values available.

Cineon information has a 10-bit white point of 685 and a 10-flake black point of 95. Values higher up 685 are retained, but are treated as highlights. Rather than abruptly clipping highlights to white, After Effects interprets highlights using a gradual ramp divers by the Highlight Rolloff value. You can modify the 10-bit white betoken and 10-bit black point input levels and the output (converted) white point and blackness indicate levels to friction match your specific footage items or creative needs.

Use a project colour depth of 32 bpc when working with Cineon footage items so that highlights are preserved, in which case y'all don't need to roll off the highlights.

When y'all choose DPX/Cineon Sequence from the Format menu in the Output Module Settings dialog box, you can and so open up the Cineon Settings dialog box to set output options. Cull whether to output DPX (.dpx) files or FIDO/Cineon four.5 (.cin) files in the File Format section of the Cineon Settings dialog box.

After Effects provides 3 basic means of working with the colors in Cineon footage items:

• The easiest—and recommended—fashion is to enable color direction and assign an input color profile to a Cineon footage item in the Color Management tab of the Interpret Footage dialog box, corresponding to the moving picture stock on which the footage was recorded. If creating output for film, use the same profile as the output color profile then that the output file matches the motion picture stock. One advantage of using color management features to piece of work with Cineon footage items is that compositing with images from other footage types is fabricated easier. See Interpret a footage detail past assigning an input color profile.

• If you need the settings for the interpretation of the Cineon footage item to modify over fourth dimension, then you lot tin apply the Cineon Converter event to a layer that uses the Cineon footage item equally its source. See Cineon Converter event.

• If you need to manually change the settings for a Cineon footage particular, or if you don't want to use color management, and so you can employ the Cineon Settings dialog box. To open this dialog box, click the Cineon Settings button in the Color Management tab of the Interpret Footage dialog box.

Transmission settings in the Cineon Settings dialog box:

Converted Black Point

Specifies the black point used for the layer in After Effects.

Converted White Point

Specifies the white signal used for the layer in After Effects.

10 Bit Black Indicate

Specifies the black level (minimum density) for converting a 10-flake Cineon layer.

10 Fleck White Betoken

Specifies the white level (maximum density) for converting a 10-chip Cineon layer.

Current Gamma

Specifies the target gamma value.

Highlight Rolloff

Specifies the rolloff value used to right bright highlights. To get over range values when working in 32 bpc, set the value to 0.

Logarithmic Conversion

Converts the Cineon sequence from log color space to the target gamma specified by the Current Gamma setting. When you're ready to produce output from the Cineon file, it is of import that yous reverse the conversion. (To convert from logarithmic to linear, ready Current Gamma to i.)

Units

Specifies the units After Furnishings uses to display dialog values.

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Source: https://helpx.adobe.com/after-effects/using/preparing-importing-still-images.html

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