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Learn to correct and improve digital images. Seamlessly remove backgrounds and repair images using content-aware tools. Explore advanced filters that enhance images using machine learning and cloud processing. Select subjects with complex outlines, including hair, quickly and precisely.

Design composite images, including instant sky replacement. Create advanced typography. Edit video, including transitions and motion effects. Automate tasks with actions. Save as a Photoshop cloud document to easily edit across desktop and mobile devices. Export your work for web, mobile devices, and print. Adobe Photoshop Classroom in a Book release contains 15 lessons that cover the basics and beyond, providing countless tips and techniques to help you become more productive with the program.

You can follow the book from start to finish or choose only those lessons that interest you. Purchasing this book includes valuable online extras. Follow the instructions in the book’s “Getting Started” section to unlock access to:. Software not included. Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe Photoshop software.

This book covers Photoshop on desktop only. It does not address Photoshop on the iPad. At Adobe Press, we publish hands-on software training books that help you learn the features of Adobe software quickly and easily. Adobe Press is the official source of training materials for Adobe software, developed with the support of Adobe product experts.

We offer books, eBooks, and Web Editions for all levels of experience, from beginners to advanced users of Adobe software. Visit the Store. You must register your purchase on adobepress. Follow the instructions in the book’s “Getting Started” section. Go to adobepress. Sign in or create a new account.

Click Submit. Answer the guided question. The lesson files can be accessed through the Registered Products tab on your Account page. If you encounter problems registering your product or accessing the lesson files or web edition, go to adobepress. A photographer can download a series of files from the publisher’s website and then receive step-by-step instruction on how to convert a downloaded digital image into a better image by adjustments in tonality and color, among other things.

Graphic artists can also benefit from these lessons, although as a photographer, I can only speak to them in more general terms. What makes this book even better is the companion website, access to which [comes with] the paper copy.

The web version mirrors the printed text, but also includes short quizzes and videos that demonstrate the same text. Photoshop has a crowded interface, so seeing a video makes it easier to see what button is being pressed.

Learning Photoshop isn’t easy. This book does a good job of introducing new users to the software. Conrad Chavez writes about digital photography and Adobe Creative Cloud workflows. Conrad is the author or co-author of many books, including Adobe Photoshop Classroom in a Book since the release and the last three editions of Real World Adobe Photoshop for Photographers.

He also writes articles for publications such asCreativePro. He is also a photographer. You can learn more about Conrad at his website, www. Hiswork with Adobe Systems started in , when they invited him to help develop the first Adobe Classroom in a Book.

His recent digital painting work can be seen online at andrew-faulkner. When Andrew’s not at the studio, you canprobably find him hunting down rare vinyl at one of the Bay Area’s vintage record stores. Conrad Chavez writes books, articles, and training materials with a focus on digital imaging using Adobe Creative Cloud tools. He is also a fine art photographer.

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It also analyzed reviews to verify trustworthiness. Enhance your purchase. Follow the instructions in the book’s “Getting Started” section to unlock access to: Downloadable lesson files you need to work through the projects in the book Web Edition containing the complete text of the book, interactive quizzes, and videos that walk you through the lessons step by step What you need to use this book: Adobe Photoshop release software, for either Windows or macOS.

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Adobe InDesign Classroom in a Book release. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Brian Wood. Kelly Anton. Rafael Concepcion. Stephen Laskevitch. Barbara Obermeier. Adobe Photoshop Classroom in a Book release. Conrad Chavez. From the brand. The fastest, easiest, most comprehensive way to learn Adobe Creative Cloud.

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Adobe after effects cs5 classroom in a book lesson files free. Adobe After Effects CS5 Classroom in a Book

Multimedia systems. Visual Arts. Adobe After Effects. Electronic books. Nota general. Bibliographic Level Mode of Issuance: Monograph. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in After Effects CS5 and how to work efficiently and deliver in the widest possible range of media types. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students.

Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts. Nota de idioma. There’s also live online events, interactive content, certification prep materials, and more. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in After Effects CS5 and how to work efficiently and deliver in the widest possible range of media types.

Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.

Salary surveys worldwide regularly place software architect in the top 10 best jobs, yet no real …. Data is at the center of many challenges in system design today. The blue car is actually on a precomposed layer that also contains a yellow car. In this example, the vehicles layer contains one nested layer with a blue car and one nested layer with a yellow car.

Press Shift after you start to drag to constrain the movement vertically. Animating the buildings Animated buildings? You bet. Notice that this composition has three layers: skyline, building, and buildings. Press Shift after you start to drag to constrain the horizontal axis. Naturally jumping buildings? Aw, come on. This is fun. This adjusts the speed of change as the motion approaches and retreats from the keyframe.

Do the same for the skyline layer. This applies motion blur to all of the nested layers. Take a look at the animation from the beginning. If you change settings for a solid that is used by more than one layer, you can apply the changes to all layers that use the solid or to only the single occurrence of the solid.

Use solid layers to color a background or to create simple graphic images. In the Solid Settings dialog box, name the layer radio waves, and then click the Make Comp Size button. Then click OK to create the layer. By default, the radio waves layer lasts the duration of the composition. Then, in the Composition panel, click to set the producer point at the top of the pyramid.

You just need to parent the radio waves layer to the full skyline layer so that the waves travel with the building across the composition. You may need to expand the Preview panel to see all the options.

Then press the Home key, or move the current-time indicator to the beginning of the time ruler. However, this slide-show technique could easily be adapted to other uses, such as presenting family photos or making a business presentation. To help you choose, use Adobe Bridge to preview them. Currently, the Artwork layer is set to start at You need to adjust the timing of the layer so that it appears at This drops out the pure white in each image and replaces it with the softer white of the canvas.

Now the artwork appears gradually. Continuous rasterization means that graphics stay sharp as they are scaled up. The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats. Adobe Bridge lets you preview audio.

Click the Pause button or press the spacebar to stop. Luckily, this music track has been composed to loop cleanly. A Time Remap property appears for the layer in the Timeline panel, and two Time Remap keyframes appear for the layer in the time ruler. The audio is now set to loop in a cycle, repeating the clip endlessly. All you need to do is extend the Out point of the layer to the end of the composition. The motion path appears as a sequence of dots, where each dot marks the position of the layer at each frame.

Use solid layers to color a background or create simple graphic images. You may delete the sample movies from your hard disk if you have limited storage space.

Click Close to close the Welcome screen. Resize the Name column to make it wider and easier to read, if necessary. Similarly, there are two layers for the two lighting conditions outside the window: Window and Window Lit. The Window Pane layer includes a Photoshop layer style that simulates a pane of glass. About Photoshop layer styles Adobe Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer.

The layer style properties are available for the layer in the Timeline panel. Soloing the layers isolates them to speed animating, previewing, and rendering. Currently, the lit background is on top of the regular darker background, obscuring it and making the initial frame of the animation light.

However, you want the animation to start dark, and then lighten. Now, when the animation begins, the Background Lit layer is transparent, which allows the dark Background layer to show through.

Make sure to leave the Opacity property for the Background Lit layer visible. The Window Pane layer has a Photoshop layer style that creates a bevel on the window. The interior of the room transitions gently from dimly to brightly lit. Duplicating an animation using the pick whip Now, you need to lighten the view through the window. About expressions When you want to create and link complex animations, such as multiple car wheels spinning, but want to avoid creating tens or hundreds of keyframes by hand, you can use expressions instead.

You can create expressions by using simple examples and modifying them to suit your needs, or by chaining objects and methods together.

The words transform. Notice that the Opacity values for the two layers match. Notice that the sky outside the window lightens as the room inside the window does. For one thing, the sun should actually rise. Previewing the animation Now, see how it all comes together.

So far, so good! A new Timeline panel named Window Contents appears. It contains the Sun, Birds, and Clouds layers you selected in step 1 above. The Window Contents composition also appears in the Composition window. Notice that the Sun, Birds, and Clouds layers have been replaced by the Window Contents layer, which refers to the Window Contents composition.

About track mattes and traveling mattes When you want one layer to show through a hole in another layer, set up a track matte. When you animate the track matte layer, you create a traveling matte. In both alpha-channel mattes and luminance mattes, pixels with higher values are more transparent. In most cases, you use a high-contrast matte so that areas are either completely transparent or completely opaque.

Intermediate shades should appear only where you want partial or gradual transparency, such as along a soft edge. A B C Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte. The mask is animated to travel across the screen.

The alpha channel of the layer above Window Lit 2 is used to set transparency for the Window Contents layer, so that the scenery outside the window shows through the transparent areas of the windowpane.

Adding motion blur The birds will look more authentic if they include motion blur. Larger values create more motion blur. In a realistic time-lapse image, they would shorten as the sun rises.

For example, you could use 3D layers and lights. You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. Small circles appear around the corner points of the Shadows layer in the Composition panel.

To adjust that corner, switch to the Hand tool , and drag up in the Composition panel so that you can see some of the pasteboard below the image.

Then switch back to the Selection tool , and drag the lower-right corner-pin handle to the approximate location of the lower-right corner of the glass tabletop. You may also need to move the two upper corners in slightly so that the bases of the shadows still align properly with the vase and clock.

Then switch back to the Selection tool , and deselect the layer. Click OK to return to the Solid Settings dialog box. The hands of the clock should be spinning quickly to show the progress of time. Close the sunrise Layers folder, and then double-click an empty area in the panel to open the Import File dialog box. The QuickTime movie clock. Drag the clock. The Render Queue panel opens. Then click Save. So far, you have created a straightforward time-lapse simulation.

Time remapping lets you dynamically speed up, slow down, stop, or reverse footage. You can also use it to do things like create a freeze-frame result. Now you can remap all of the elements of the project at once.

A Time Remap property also appears under the layer name in the Timeline panel; this property lets you control which frame is displayed at a given point in time. The Layer panel provides a visual reference of the frames you change when you remap time. It displays two time rulers: The time ruler at the bottom of the panel displays the current time. The Source Time ruler, just above the time ruler, has a remap-time marker that indicates which frame is playing at the current time.

That will change as you remap time. This remaps time so that frame plays at The composition now runs at half-speed until , and at a regular speed thereafter. In layer bar mode, in contrast, the time ruler represents only the horizontal time element, without a graphical display of changing values.

The angle of the line is shallow up to , and then becomes steeper. The steeper the line, the faster the playback time. Using the Graph Editor to remap time When remapping time, you can use the values in the time-remap graph to determine and control which frame of the movie plays at which point in time. These initial Time Remap keyframes have vertical time values equal to their horizontal position. Every time you add a Time Remap keyframe, you create another point at which you can change the playback speed or direction.

As you move the keyframe up or down in the time-remap graph, you adjust which frame of the video is set to play at the current time. Have some fun with the timing of this project.

Watch the time ruler and Source Time ruler in the Layer panel to see which frames are playing at any given point in time. Having fun yet? Keep going. Ctrl or Command temporarily activates the Add Vertex tool. Now the animation progresses rapidly, holds for two seconds on the last frame, and then runs in reverse.

If you drag it to the right, the transition is softer; if you drag it down or to the left, the transition is more pronounced. Scaling the animation in time Finally, use the Graph Editor to scale the entire animation in time. The entire graph shifts, reducing the top keyframe values and slowing playback. If you press Alt Windows or Option Mac OS and drag one corner of the free-transform box, the animation is skewed in that corner as you drag.

You can also drag one of the right transform handles to the left to scale the entire animation so that it happens more quickly. It also preserves other features, such as adjustment layers and type. The pick whip is also a way to create parenting relationships.

To use the pick whip, simply drag the pick whip icon from one property to another. When remapping time, you can use the values in the time-remap graph in the Graph Editor to determine and control which frame of the movie plays at which point in time. Use masks to control what appears. A mask consists of segments and vertices: Segments are the lines or curves that connect vertices. A mask can be either an open or a closed path.

An open path has a beginning point that is not the same as its end point; for example, a straight line is an open path. A closed path is continuous and has no beginning or end, such as a circle.

Closed-path masks can create transparent areas for a layer. Each layer can contain multiple masks. You can draw masks in common geometric shapes—including polygons, ellipses, and stars—with the shape tools, or you can use the Pen tool to draw an arbitrary path. Begin by previewing the movie and setting up the project. In this case, you can use the settings in the Interpret Footage dialog box to reinterpret your footage. To replace it with the news promo, you need to mask the screen.

You may need to use the Hand tool to reposition the view in the panel. The Pen tool creates straight lines or curved segments. When a circle appears next to the pointer as in the middle image below , click to close the mask path. So you need to invert the mask. Alternatively, you could change the mask mode, which is set to Add by default. About mask modes Blending modes for masks mask modes control how masks within a layer interact with one another.

By default, all masks are set to Add, which combines the transparency values of any masks that overlap on the same layer. Each additional mask that you create interacts with masks located above it in the Timeline panel.

The results of mask modes vary depending on the modes set for the masks higher up in the Timeline panel. You can use mask modes only between masks in the same layer.

Using mask modes, you can create complex mask shapes with multiple transparent areas. For example, you can set a mask mode that combines two masks and sets the opaque area to the areas where the two masks intersect. Working with Masks There are two ways to invert this mask: by choosing Subtract from the Mask Mode pop-up menu, or by selecting the Inverted option.

The mask inverts. If you look closely at the monitor, you will probably see portions of the screen still appearing around the edges of the mask. Bezier curves give you the greatest control over the shape of the mask. With them, you can create straight lines with sharp angles, perfectly smooth curves, or a combination of the two.

Selecting Mask 1 makes the mask active and also selects all the vertices. Press the G key multiple times to cycle through the Pen tools. The Convert Vertex tool changes the corner vertices to smooth points. The angle and length of these handles control the shape of the mask. Notice how this changes this shape of the mask. You can also change the zoom level and use the Hand tool to reposition the image in the Composition panel as you work.

Click the vertex. Drag the handle. Breaking direction handles By default, the direction handles of any smooth point are connected to one another. As you drag one handle, the opposite handle moves as well. However, you can break this connection to get greater control over the shape of the mask, and you can create sharp points or long, smooth curves.

The left direction handle remains stationary. Drag the right direction handle of the upper-left vertex, and then the left direction handle, to follow the curve of the monitor.

If you need to shift a corner point, use the Selection tool. You should not see any of the monitor screen. You can drag the image with the Hand tool. To temporarily switch to the Hand tool, press and hold the spacebar. Then click where you want to place the next vertex, and drag in the direction you want to create a curve. The white background allows you to see that the edge of the monitor screen looks a little too sharp and unrealistic. Replacing the content of the mask You are now ready to replace the background with the TV news promo movie and blend it with the overall shot.

The Position property for a 3D layer has three values: From left to right, they represent the x, y, and z axes of the image. The z axis controls the depth of the layer. You can see these axes represented in the Composition panel. The red arrow controls the x horizontal axis of the layer. Then drag up or down as necessary to position the clip vertically in the monitor screen. Again, since this is a 3D layer, you can control rotation on the x, y, and z axes. This swivels the layer to match the perspective of the monitor.

This aligns the layer with the monitor. Your composition should now resemble the preceding image. This time, you want to keep the area inside the mask opaque and make the area outside the mask transparent. Applying a blending mode To create unique interactions between layers, you may want to experiment with blending modes.

Blending modes control how each layer blends with, or reacts to, layers beneath it. This creates a hard glare on the monitor screen image and boosts the colors underneath. This exercise is optional. Material Options properties determine how a 3D layer interacts with light and shadow, both of which are important components of realism and perspective in 3D animation. This is often done to simulate light variations of a glass lens.

It creates an interesting look that focuses the attention on the subject and sets the shot apart. Adjust the shape and position using the Selection tool, if necessary. Using the Rectangle and Ellipse tools The Rectangle tool, as the name suggests, creates a rectangle or square. The Ellipse tool creates an ellipse or circle. You create mask shapes with these tools by dragging them in the Composition or Layer panel.

If you want to draw a perfect square or circle, press the Shift key as you drag with the Rectangle tool or the Ellipse tool. Be careful! Even with this large feather amount, the vignette is a bit intense and constricting.

You can give the composition more breathing room by adjusting the Mask Expansion property. The Mask Expansion property represents, in pixels, how far from the original mask edge you are expanding or contracting the adjusted edge. When the point is selected, you can continue adding points. Working with Masks As you saw in this lesson, you can close a mask by clicking the starting vertex.

Warming it up will make the image really pop. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts. Sometimes video cameras favor a certain color channel that makes the image cooler bluer or warmer redder. In this lesson you have worked with the mask tools to hide, reveal, and adjust portions of a composition to create a stylized inset shot.

Number List 2 Name two ways to adjust the shape of a mask. A mask consists of segments and vertices. An additional tool, the Puppet Sketch tool, lets you record animation in real time. Shift-click to select the backdrop.

Creating the composition As with any project, you need to create a new composition. The preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition. The banana peel moves to the left side of the composition. Sometimes you can make your work easier by making some adjustments before animation. About the Puppet tools The Puppet tools turn raster and vector images into virtual marionettes.

When you move the string of a marionette, the body part attached to that string moves; pull the string attached to the hand, and the hand goes up. The Puppet tools use pins to indicate where strings would be attached. These pins determine which parts of the image should move, which parts should remain rigid, and which parts should be in front when areas overlap.

If you add more pins anywhere in the timeline, they are placed based on the original position of the mesh. As soon as you place a pin, the area within an outline is automatically divided into a mesh of triangles. Each part of the mesh is associated with the pixels of the image, so as the mesh moves, so do the pixels. When you animate a Deform pin, the mesh deforms more in the area closest to the pin, while keeping the overall shape as rigid as possible.

Where you place those pins and how you position them determine how the objects move on the screen. When you select the Puppet Pin tool, the Tools panel displays the Puppet tool options. Pin the character according to his left and right, not yours! A yellow dot representing the Deform pin appears in the Composition panel.

If at this point you were to use the Selection tool to move the Deform pin, the entire character would move with it. You need more pins to keep the other parts of the mesh in place. Now you can move the right hand with the Selection tool. Each Deform pin is listed. This setting determines how many triangles are included in the mesh.

Increasing the number of triangles results in a smoother animation, but also increases rendering time. To expand the mesh, increase the Expansion property in the options section of the Tools panel. You can also place pins without viewing the mesh. Then select the Puppet Overlap tool again. As you add a pin, you may want to adjust its Extent value in the options area of the Tools panel.

Use this image as a guide. You can also use negative numbers to reduce the rigidity of another pin. Now you can change the Deform pin positions to animate the character. Creating a walking cycle Initially, the character should be walking across the screen.

To create a realistic walking cycle, keep in mind that as humans walk, wave patterns develop in the motion path. However, the values will vary slightly to add a bit of randomness, and to keep the character from looking too much like a robot. So equals 1 second and 15 frames. At Squash and stretch As the character moves, his body squashes and stretches.

Squash and stretch is a traditional animation technique that adds realism and weight to objects. The easiest way to understand the principle of squash and stretch is to view an animation of a bouncing ball. As it bounces up, it stretches.

The falling movements occur more quickly than the walking cycle. Moving an object Of course, when the man slips on the banana peel, the banana peel moves, too. Then make a RAM preview and view your animation. Here’s how you do it. Buy the eBook. Then, on your chosen reader, scroll to the END of the eBook and scroll back a few pages.

Very clear instructions follow about how to go to the publishers website PeachPit and download the full files associated with that particular text. Granted, it would’ve been clearer to list these instructions at the beginning of the book rather than the end. My guess is that given that the files are not to be given away freely until purchase, they are placed at the back of the eBook so that they are not included with the sample first pages that are given away freely as incentive to buy.

The good thing is that the digital lesson files are there and fully included with each Classroom in a Book eBook for CS5. I agree with the other reviewers in general as to this being a decent book for learning AF and doing it by lessons. But each of us learns differently so for me the best way was to go very slowly and do exactly as described in each lesson plan. When I say exactly, I mean make sure your layout, panels, etc. By a few lessons into the book, the author instructs you to do something and he doesn’t re-explain it over and over it is assumed that you know what step to take and the author states this in the beginning of the book otherwise it would take up book space and lesson time repeating something over and over.

Expect times depending on the steps, lesson. It can be overwhelming if you skip something and thus it can be frustrating when you don’t see the same results of the lesson.

Say if you use your own Text font for example instead of the Text font used in the lesson, then you may get off-track and thus not see the results as the lessons was designed. I used Text fonts as an example because you may not see the same applied Effect s as was used in the lesson. Also, I tried to step forward on some steps and thus got lost in the end my fault. The more I have been using AF, the more everything has come together and I can see how the steps I take results in the final desired outcome.

To me, the book was a great way to learn AF. But it’s not going to teach me everything; I use other tools media, etc. See all reviews. Top reviews from other countries. I had no experience of this programme and it really took me through stage by stage.

My only small criticism is that all the sample projects are built standard NTSC 4×3 and the book did not take me through settings for importing other aspect ratios and formats. I’m sure not a problem if importing from Premiere, but working out the ideal settings to import from Final Cut was tricky and I’m not sure I have it yet. That said, I would definitely recommend this to anyone starting out with AE.

Report abuse. Love these books, it’s a great buy for beginners into CS products, would like to see an additional series for professionals with in-depth tutorials etc.

Book is value for money and it does what it suppose to. Mine came with a CD Rom as specified in the product area and the chapters are easy to follow.