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Ray-traced rendering enhances the 3D objects with much more realism than ever before, with environment mapping and light refraction through transparent materials.The new ray-traced 3D feature allows you to add bevels and extrusions to vector layers like text and shapes.While these significant 3D enhancements have been made, it’s clear that Adobe isn’t trying to compete in the 3D modeling or application space. And all 3D objects can interact with each other to cast shadows, reflections, transparency, specular and diffused light, and more. Text and shape layers can now be extruded with beveled edges, and footage clips, images, and solid layers or even sub-comps can be bent in 3D space. (Adobe says that earlier tests by Nvidia yielded acceleration by a factor of 1.5 to 2.5 times, with some graphic functions being up to 16 times faster than before.)New 3D extrusions, bendable footage, and ray-tracingAdobe has totally reworked the After Effects CS6 3D environment.
After Effects CS6 introduces the Rolling Shutter Repair effect that analyzes the footage and generates a corrective result. Yet a problem that occurs with footage shot on digital cameras with a CMOS sensor is the Rolling Shutter or “jello-cam” effect—where the vertical scan of the sensor can’t keep up with the movement of the camera, especially in side-to side panning. This has been an important tool for emerging DSLR shooters who are now producing a lot of handheld video. More help for DSLR footageWith the release of After Effects CS5.5, Adobe introduced the Warp Stabilizer, which analyzes footage data and does an incredible job of stabilizing handheld and shaky rig footage. With the Mask Feather Tool, the individual points can also be keyframed along the timeline and adjusted with the object being masked.Variable edge mask feathering is now possible, which greatly helps when creating masks or roto work on objects with multiple types of edges.
The result is a 3D camera to which you can apply text, solid/null, and shadow-catcher layers to a target point you assign with triangulated points from the tracking point cloud.I was actually quite surprised at the results when I tried it on some hand-held footage I shot while walking—complete with a lot of camera shake. In the case of a smaller-chip camera like the GoPro sports camcorder, the jello-cam effect caused by vibrations or rapid shaking of the camera can’t be fixed by the Rolling Shutter Repair because the distortions are moving in all directions.3D Camera Tracker takes you into your shotThe new 3D Camera Tracker effect automatically analyzes the motion in your 2D video footage and computes the position, orientation, and field of view of the real camera that shot the scene, and creates a new 2D camera in After Effects CS6 to match the original footage. This is after the shot was repaired.I found this effect worked well in most cases, but it’s not a cure for all footage. This is the original shot.The Rolling Shutter Repair effect uses either the Warp or Pixel Motion algorithm. The effect can also be keyframed on the timeline to fine-tune the adjustments and keep from over-correcting when applied to a footage clip globally.The new Rolling Shutter Repair effect analyzes footage and generates a corrective result.
This stand-alone software allows you to apply planar tracking to position inserted objects and create per-vertex feathering on roto-splines as well as on the Mocha Shape masks.Adobe has added a direct link for tracking with Mocha AE. For those shots, you’d be better off using a planar tracker such as Mocha AE, which ships with After Effects CS6 and offers a much improved Mocha AE workflow. In my test, I also added a Shadow Catcher layer so the lights I used on the 3D extruded text would cast a shadow on the wall it was attached to and provide more realism.After the 3D Camera Tracker is applied and the 3D text has been extruded, the result is very realistic (see example video link below).What this feature doesn’t do well is keep track of points that move out of frame, so your footage either has to be quite short if the camera is in motion such as walking, or if you are panning more than about 60 degrees. Then, right-clicking on the target lets you create your desired 3D layers and camera. You can select more than the three automatically chosen points by shift-clicking additional points on the cloud until the target is precisely where you want it.
There is now native support for Adobe SpeedGrade. There are also enhancements such as support for motion blur and composition’s 3D lights in the relevant CycoreFX effects.The ability to import native ARRIRAW footage from ARRIFLEX D-21 or ALEXA digital cameras is also new to After Effects CS6. This increases the color depth and reduces banding and other artifacts previously created by lower-resolution effects—especially noticeable when color correction is further applied.There are some new effects in this suite that were not previously bundled with After Effects, such as Cross Blur, Color Neutralizer, Kernel, Threads, Environment, Rainfall, Snowfall, Block Load, Plastic, Line Sweep, WrapoMatic, and Overbrights. Pro Import After Effects ships with After Effects CS6.There are more than 80 new and updated built-in effects with this release, including the CycoreFX HD Suite, which supports 16-bit-per-channel color, while 35 of them support 32-bit floating point processing. Many of the translations of supported Avid and Apple files include position, scale, rotation, keyframes, composite mores, titles, speed changes, and more. It works with Avid Media Composer and Symphony AAF/OMF files, as well as with XML files from Apple Final Cut Pro 7 or earlier.
Added to the existing support for RED R3D files, XML, and DPX sequences, this makes After Effects CS6 a truly integral part of a professional filmmaker’s workflow.
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