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Adobe After Effects CC Classroom in a Book (Englisch) Taschenbuch – 10. Juli 2013


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Amazon.com: 4.1 von 5 Sternen 31 Rezensionen
9 von 9 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen The book looks nice, but it's very thin on explanations. 22. Mai 2014
Von Jeff York - Veröffentlicht auf Amazon.com
Format: Taschenbuch
Given that this is the official training book from Adobe, my expectations were high. Each tutorial that you are asked to work through are both fun and interesting intellectually. However, as I work through them, I feel a sense of frustration as there is little explanation as to the 'why' behind many of the tools and procedures used. The idea behind tutorials is to get a student to learn techniques they can then apply to their own projects. But without the 'why' behind the methodology, this becomes more of an activity and less of an education.
13 von 15 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Very easy to follow and get familiar with After Effects 20. Juli 2013
Von Todd C. Steen - Veröffentlicht auf Amazon.com
Format: Kindle Edition Verifizierter Kauf
I would recommend this for beginners or near beginners of After Effects. The lessons go step by step and leave nothing to the guessing. You will never get lost in this book unless you stay up until 2 AM with your eyes half closed. Each chapter is assembled in a step by step instruction of how to complete a project from start to finish. Every click and entry is perfectly outlined for you. The chapters add more and more to your knowledge and also make shortcuts and clicks become second nature. The files include everything you need; nothing is missing.

I don't recommend this for a seasoned veteran as it will be remedial in most cases.

If you're unsure about using After Effects this book will throw you in the pool and provide lots of floaties for you to hang on to while you learn to swim.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A Much Needed Resource which makes a Very Complex App Extremely Approachable 13. Juli 2014
Von Brian M. Stoppee - Veröffentlicht auf Amazon.com
Format: Taschenbuch
Adobe After Effects (Ae) has become a mainstay in major Hollywood feature films as well as the compelling animation engine behind broadcast news graphics all over the globe. Much like those who master Photoshop, the work of Ae artists can easily be so impressive that some feel After Effects is too intimidating to be approachable.

Nothing could be further from the truth. Ae is packed with power and, yes, some After Effect masters do impressive work. Yet, as with many Adobe apps, which have a decades-long legacy, all you need is a well-planned and tested learning experience to give you a can-do attitude.

In all candor, though this is our 105th Classroom in a Book (CIB) and we’re Adobe Creative Professionals (ACP), a fair question is “What’s this book to you?”

The answer’s simple, the CIB series is the blueprint to Adobe CC app learning. Many Adobe Certified Instructors (ACIs) use CIB as the foundation of their classroom training, for those who wish to become Adobe Certified Experts (ACE) or Adobe Certified Associates (ACA).

For us, these books are study guides as to how we can be sure that we are up to speed on every foundational, new, and important aspect of how apps, like After Effects, must be understood and mastered.

We have created our “Mapped App” series as a study guide to important books for creative professionals. They are both our direction on each chapter plus an item-by-item checklist of what needs to be mastered in each learning resource.

That said, another good question is, “Did you learn anything?” These Mapped App things are a journal. We write them as we go through the lessons, in the same way an Ae newbie would experience these things.

As anyone who has read our years of amazon.com book reviews knows, we’re quite candid and sometimes brutal. Since we are ACPs, published authors, and regular contributors to other author’s books, we are buddies with hundreds of our fellow educators to the creative professional community. However, for this book, we have never had any contact with the author, Brie Gynclid, and have made no contributions to this volume.

Chapter 1 - The Workflow
There was a time when if you were new to all things Adobe, the After Effects UI (user interface) was easily intimidating. Now that most Ae users come into the app with a CC subscription, it may not be all that foreign anymore, since it shares a UI experience with other CC apps. This is a good thing since the book doesn’t seem to gently ramp-up for the inexperienced reader. We understand this. Many new Ae users are those who have jumped ship from apps like Apple’s Final Cut Pro (FCP) or those with CC subscriptions, for which they have already gathered some significant CC experiences.

If you are new to Ae, there’s nothing to concern yourself with about this book’s step-by-step lessons, complete with inspirational assets for use while studying these them. Don’t rush through the lessons. Take it slow. Find time for plenty of breaks. If you try to just do the lessons, getting from Point A to Point B, page after page, the learning won’t sink in. Continually ask yourself, “Do I fully understand all of what I just studied?” If not, go back and revisit. Here’s what to know in this chapter. When you complete it, go back to this list and ask yourself, “Have I mastered each of these?” Don’t think in terms of just getting through the lessons. Instead, do these with the mindset that once you close the book, you will be able to successfully complete projects, with these same features, on your own.
Get Started p 10
Create a Project + Import Footage p 10-14
Overview: Work Area p 11
Create a Composition + Arrange Layers p 14-17
Overview: Layers p 16
Overview: Tools Panel p 17
Add Effects + Modify Layer Properties p 18-23
Prepare Layers p 18
Add Radial Blur Effect p 19-20
Add Exposure Effect p 21
Transform Layer Properties p 22-23
Animate Composition p 24
Prepare Text Composition p 24-26
Overview: Timeline Panel p 25
Animate Text w/Animation Presets p 26-28
Overview: Timecode + Duration p 27
Preset Settings in Effect Controls p 29-30
Preview Projects p 30-32
Standard Preview p 31
RAM Preview p 32
Optimize Performance p 33
Render + Export p 33
Customize Workspace p 33
Predefined Workspace p 34
Save a Customized Workspace p 35
Control UI Brightness p 35-36
Resources p 36

The book suggests that it will take you an hour to complete this first chapter. If you are new to Ae, do not concern yourself if it has taken you twice that long.

We are pleased that this CIB has done more than introduce you to the Ae working environment. Actual projects are taught in the first chapter. However, it’s a great deal to learn.

Chapter 2 - Basic Animation w/Effects + Presets
This chapter is well-designed and developed as a smooth transition from understanding the fundamentals of the workspace, in the previous chapter, to animation basics with Ae. After about an hour the readers should feel more comfortable in their abilities to accomplish great work in After Effects.

It’s a chapter which should feel empowering to those coming into Ae from Bridge (Br) and Illustrator (Ai). This CIB jumps right into the role those CC apps play in the overall picture of how Ae integrates into the complete Creative Cloud set of powerful tools. The more you learn about Ae, the more you’ll see it not only as an extensive team player with the other CC apps but how you can use those applications in creating masterful After Effects projects all the better.
Get Started p 40
Import Footage w/Bridge p 41-42
Create a New Composition p 43-45
Import a Background Element p 44-45
Imported Illustrator Layers p 45-47
Apply + Control Effects p 47
Apply Effects to a Layer p 48
Apply an Animation Preset p 49-51
Precompose Layers in a New Animation p 50-51
Preview Effects p 52
Add Transparency p 52-53
Render the Composition p 53-55

Chapter 3 - Text Animation
As mentioned in the introduction, broadcast news is a gallery of Ae projects. Motion text graphics are a means of keeping the audience engaged. Once again, the author has wisely chosen to integrate Photoshop (Ps) text into the lessons. The pros and cons of bringing Ps text into Ae is a frequently discussed topic by some of the best of the best of Ae users. We are pleased that this CIB prepares the reader for the normal Ae workflow that After Effects masters use every day, worldwide.
Get Started p 60
Import Footage p 60-61
Create a Composition p 61
Overview: Text Layers p 62
Create + Format Point Text p 62-68
Character Panel p 63
Paragraph Panel p 63-64
Position Type p 64-65
Text Animation Preset p 65-68
Browse p 66
Preview a Range of Frames p 66-67
Customize a Preset p 67-68
Animate with Scale Keyframes p 68-69
Preview Scale Animation p 68
Add “Easy Ease” p 69
Parenting Animation p 69-71
Overview: Parent + Child Layers p 71
Animate Photoshop Text p 71-74
Import Text p 71-72
Edit Imported Text p 72-73
Subtitle Animation p 74
Animate Text w/Path Animation Preset p 75-76
Customize a Preset Path p 75-76
Animate Type Tracking p 77-78
Customize Placeholder Text p 77
Apply a Tracking Preset p 77
Customize a Tracking Animation Preset p 78
Animate Text Opacity p 78-79
Text Animator Group p 79-83
Overview: Text Animator Groups p 80
Skewing the Range of Text p 81-83
Clean Up Path Animation p 83-84
Non-Text Layer on a Motion Path p 84-86
Copy the Mask Shape p 85
Orient the Object p 86
Coordinate Text + Object Timing p 86
Add Motion Blur p 87

This is a very full chapter. If you’re familiar with some of it, completing this in 2 hours is feasible. If you’re new, it could be a half day project.

Chapter 4 - Shape Layers
Some Ae users may be a bit panicked by the need to draw graphics, if that’s not in their skill set. This CIB provides the graphics. This chapter begins the more powerful After Effects features, so it’s best to go into this after a break from Chapter 3. Allow around 90 minutes. It’s involved but not too difficult, especially it you’re familiar with some of the similar concepts in Illustrator and Photoshop.
Get Started p 92
Create the Composition p 92-93
Add a Shape Layer p 94-96
Overview: Shapes p 94
Draw Shape p 94-95
Apply a Gradient Fill p 95
Modify Gradient Settings p 96
Create Custom Shapes p 96-102
Draw a Polygon p 97-98
Twist a Shape p 98-99
Repeat a Shape p 99-100
Rotate Shapes p 101
Blend Shapes w/the Background p 101-102
Create Stars p 102-106
Draw a Star p 102-103
Pucker + Bloat p 103-104
Duplicate Shapes p 104-105
Rotate Shapes p 105-106
Position Layers w/Snapping p 106-111
A New Composition p 106-108
Snap Layers into Position p 109-110
Nesting the Composition p 110-111
Video + Audio Layers p 111-112
Add Audio + Video Files p 111
Trim the Work Area p 112
Apply a Cartoon Effect p 112-114
Add a Title Bar p 114-117
Self-Animating Shapes p 114-115
Add Text p 114-115
Brainstorm to Experiment p 115-120
Animate Layers p 119-120

Chapter 5 - Animate a Multimedia Presentation
Animation is one of the most powerful toolsets in Ae. To put those features into play requires learning which is unique to After Effects. Fortunately there is some familiarity for Premiere Pro (Pr) and Flash Professional (Fl) users. This is important since Ae has round trip relationships with both of those apps. Users shuttle projects back and forth between them so similar concepts are important.

A good example is keyframing, where you chose important places in the timeline and allow the app to handle the transitions between them, for you. That’s common to Pr. However, the first time we learned keyframing, it took a little while to fully grasp. So, do not allow yourself to become frustrated. If you feel the need to go back a few pages, or start over, that’s completely normal and the best way to proceed with this learning.

The chapter has some very empowering exercises including a slide show and the addition of audio which integrates Adobe Audition CC.
Get Started p 124-125
Animate w/Parenting p 125-128
Set Up p 125-126
Animate the Parent Layer p 126-127
Animate Position p 127
Trim a Layer p 128
Apply Motion Blur p 128
Preview Animation p 128
Adjust Anchor Points p 129-130
Mask w/Vector Shapes p 130-134
New Composition p 130-131
Animate Presets w/Shape Layers p 132
Constrain a Layer w/an Alpha Matte p 132-133
Swap a Composition into a Layer p 133-134
Keyframe a Motion Path p 134-137
Scale + Rotation Transformations p 135-136
Add Motion Blur p 137
Preview p 137
Animate Elements p 137-140
Motion Selections p 137-138
Animation Exercise p 138-139
Add Easy Ease p 140
Copy Exercise p 140
Apply an Effect p 141-144
Add a Solid Color Layer p 141-142
Overview: Solid-Color Layers p 141
Apply Effects p 143-144
Create an Animated Slide Show p 144-148
Import Slides p 145
Make a New Composition p 145-146
Position the Slide Show p 147-148
Fade-in a Slide p 148
Add an Audio Track p 148-149
Supported Audio Formats p 149
Looping the Audio Track p 150
Zoom in for a Close-up p 151-152
Preview the Composition p 152
Edit w/Audition p 153

Chapter 6 - Animate Layers
We are impressed, again, with the inclusion of Photoshop layering to acquaint the Ae trainee with how that’s applicable to After Effects. For those used to Ps, it lowers the steepness of the learning curve. That’s good because an exercise in track mattes and traveling mattes my be rooted in Hollywood postproduction, going back decades, but if you are new to all of it, you may as well have awaken in a foreign land, where you don’t speak the language, and have no idea how you got there.

Again, these are not difficult concepts. It’s a great deal of fun. Give it time. The lesson is well-planned, as is the one on lens flare.

Retiming a composition and the remapping with the Graph Editor will also seem foreign to some and solid ground to Pr and Fl users. Just take it slow.
Get Started p 156-160
Import Footage p 157-158
Prepare Layered Photoshop Files p 158
Create the Composition p 158-159
Overview: Photoshop Layer Files p 159
Simulating Light Changes p 160-162
Overview: Expressions p 162
Duplicate an Animation w/Pick Whip p 162-163
Animate Movement in Scenery p 164-167
Animation Exercises p 164-167
Preview p 167
Adjust Layer + Track Matte p 168-171
Pre-Compose Layers p 168
Track Mattes p 169-170
Overview: Track + Travel Mattes p 169
Add Motion Blur p 170-171
Animate Shadows p 172-174
Add Lens Flare Effect p 174-175
Animation Exercise p 176-178
Animation Rendering p 176-178
Re-time Composition p 178-184
Time Remapping in Graphic Editor p 180
Remap Time in Graphic Editor p 181-182
Add and Easy Ease Out p 183
Scale an Animation in Time p 183-184

Chapter 7 - Masks
Masking is familiar territory for many CC apps. These lessons are well-planned and make it easy, even for beginners. Yet, the chapter is very Ae specific and follows the professional methodologies of digital postproduction. We suggest carefully following every step, even if you have deep background with the other apps which use masks. We were also pleased to find the addition of 3D light in these pages.
Overview: Masks p 188
Get Started p 188-191
Import Footage p 189
Interpret Footage Dialog Box p 190
Create Composition p 190-191
Create a Mask w/Pen Tool p 191
Edit a Mask p 192
Mask Modes p 192
Invert Mask p 192-193
Curved Mask p 193-194
Break Direction Handles p 194-195
Create a Bezier Mask p 195
Feather Mask Edges p 196
Replace the Content Mask p 197
Reposition + Resize Clip p 197
Rotate Clip p 198
Add a Reflection p 199
Blend Mode p 202
3D Light Layer p 203
Vignette p 204
Rectangle + Ellipse Tools p 205
Mask Creation Tips p 206
Adjust Color p 206

Chapter 8 - Distort Objects w/Puppet Tools
Photoshop borrowed the After Effects puppet tools a few cycles back. If you’re used to puppet warping and pinning from Ps, you’ll feel like you’ve taken the next step in these lessons. Even for a newbie this will be fun.
Get Started p 210-213
Import Footage p 210-211
Create a Composition p 211
Add Background p 212
Scale an Object p 212-213
Add a Character p 213
Overview: Puppet Tools p 214
Add Deform Pins p 214-216
Define Areas of Overlap p 216-217
Stiffen an Area p 217
Animate Pin Positions p 218
Create a Cycle p 218-219
Squash + Stretch p 218
Animating p 220
Move an Object p 220-221
Easy Ease p 222
Record Animation p 222-223

Chapter 9 - Roto Brush Tool
When Ae introduced the Roto Brush tool, they changed the game of movie postproduction, forever. The ability to quickly identify one object (such as a face) in one frame of a clip, make adjustments to it, just is you would in Photoshop, and then watch it be applied to every single frame, as the object moved, was mesmerizing. For decades artists tediously altered one frame at a time.

This is where you put to use your previous learning about mattes. This chapter should make you feel like you’re equipped to get into the big leagues. It should allow you to feel accomplished.
Background: Rotoscoping p 228
Get Started p 228-230
Create the Composition p 229
After Effects w/Premiere Pro p 230
Segmentation Boundaries p 230-237
Base Frame p 230-233
Refine Boundaries Across a Span p 234-235
Add New Base Frames p 235-237
Fine-Tune the Matte p 237-239
Roto Brush + Refine Edge Effect p 237-238
Refine Edge Tool p 238-239
Refine Soft + Hard Matte Effects p 239
Freeze Roto Brush Results p 239-240
Change the Background p 240-242
Animated Text p 242-243
Project Output p 244

Chapter 10 - Color Correction
At first glance this chapter would appear no longer needed now that SpeedGrade has joined the CC team. However, the kind of color correction the two apps do are quite different. Think of how Photoshop allows you to choose just a boring sky in an image and bring it to life. Now, think of how that’s applied to a motion sequence.
Get Started p 248-251
Import Footage p 249
Create Composition p 249-251
Project Preview p 250
Adjust Color Balance p 251-254
Replace Background p 254-258
Key Out w/Color Range p 254-256
Add New Background p 256-257
Color Correction Project p 258
Remove Unwanted Elements p 258-260
Correct a Range of Colors p 260-263
Warm Colors w/Photo Filter Effect p 263-264

Chapter 11 - 3D Features
3D has been a hot feature set in Ae for many cycles but Adobe really turned up the heat when they brought Cinema 4D (C4D) into the equation. C4D has long been Hollywood’s gold standard for 3D animation.

This is a classic example of how it’s impossible to squeeze all the goodness of and huge legacy Adobe app into just over 300 pages. Nevertheless the team which cooked-up this CIB volume baked plenty of goodness into the 3D chapter, to the point that any reader has to conclude these lessons by saying, “YES!”
Get Started p 268-269
3D Text 269-271
3D Views p 272-273
Import a Background p 273-274
3D Lights p 274-280
Light Layer p 274-275
Position Spotlight p 275-276
Fill Light p 276-277
Shadows + Material Properties p 277
Add a Camera p 278-280
Reposition Layers p 280-281
Add a Text Layer p 281-282
Cinema 4D Lite p 283-294
Export a Scene File p 283-285
3D Text p 285-289
Surface an Object p 290
Update a Project in After Effects p 290-292
Extrude 3D Text p 293-294

Chapter 12 - 3D Camera Tracker
You may not know it, but you have seen Ae’s 3D Camera Tracker on TV a zillion times. It’s in those commercials where everything freezes and then the camera pans over a crowd and the objects in the crowd takes on three-dimensions qualities, in layers.

Admittedly, that’s a very complex project. However, this chapter opens the door to enter that world of high-level coolness.

This one is easier to understand if you have some background in still photography. However, the entire chapter doesn’t push the reader. The lessons assume no level of photographic expertise. Yet, it’s not a free pass to anyone. This chapter is challenging, as well it should be.
Overview: 3D Camera Tracker p 298
Get Started p 298-300
Import Footage p 299
Create Composition p 299-300
Repair Distortion p 300
Track Footage p 301-302
Ground Plane, Camera, Initial Text p 302-306
Realistic Shadows p 306-308
Ambient Light p 308
Text Elements p 309-310
Lock a Layer to a Plane w/Null Object p 311-312
Animate Text p 313-315
First Elements p 313-315
Copy to Other Elements p 315
Camera Depth of Field p 316
Rendering p 317

Chapter 13 - Advanced Editing Techniques
Warp Stabilizer is another marquee aspect of Ae. It furthers what was covered in the previous two chapters, getting into challenging motion tracking. Attention is focused on many of Ae’s signature effects. As the book begins to wrap-up the reader is being primed for where to go from here.
Get Started p 322
Warp Stabilizer VFX p 322-327
Bicubic Scaling p 323
Project Setup p 323
Import Footage p 324
Create a Composition p 324
Apply Warp Stabilizer p 324-325
Adjust Settings p 325-326
Fine-Tune Results p 326
Warp Stabilizer Summery p 327
Single-Point Motion Tracking p 327-328
Project Setup p 328
Create the Concept p 328
Shape Layer p 328-329
Track Point Positioning p 329-330
Move + Resize Track Points p 331
Analyze + Apply Tracking p 332-333
Drift p 332
Multipoint Tracking p 333
Project Setup p 334-335
Position Track Point p 335-336
Mocha p 337
Particle Simulation p 338
Project Setup p 338-339
Particle System p 339-340
Particle Effect p 340-344
Particle Systems II Properties p 342
Light the Darkness p 345
Lens Flare p 346-347
High Dynamic Range (HDR) Footage p 348
Re-time Playback w/Timewarp Effect p 348
Project Setup p 349
Timewarp p 350-351

Chapter 14 - Rendering + Output
As with many of the huge CC apps, the people at Adobe/ Peachpit Press save the last chapter of the CIBs for the not so sexy, but absolutely essential understanding of how professionals bring a project to conclusion. This is nothing you want to gloss-over, after days of study, just to falsely say you crossed the CIB finish line. If anything, take a break before starting Chapter 14. It delves into Adobe Media Encoder (AME), known to many as just “Media Encoder” or ME.

Some of the world’s best technology writers have contacted us from Adobe press previews asking us to help them decode Media Encoder. That’s not an easy one. ME is something akin to all the PDF export options in InDesign or the expectation that you’ll understand all of Adobe Camera Raw’s save options. That requires a huge comprehension of media technology, spanning decades. Nevertheless, fully knowing what each one of those requires is enough know-how to fill a not very exciting book, we appreciate how much of the groundwork was fit into this chapter. It’s a substantial down payment.
Get Started p 356-357
Templates for the Render Queue p 357-362
Render-Settings Template p 357-359
Templates for Output Modules p 359-361
Export w/Render Queue p 362-364
Overview: Compression p 362
Overview: Movie for Mobile Devices p 364
Render w/Adobe Media Encoder p 365-370
Broadcast Quality p 365-366
Add a Preset p 366-367
Render Movies p 367-368
Prepare for Broadcast p 368
Custom Presets p 368-370

Conclusion
There are some fabulous books available about After Effects. We have quite a library of them as we try to constantly up our game on mastering Ae, no small task. If someone was new to After Effects, nothing else in our Ae library would be a good choice. Those books are great for mastering the app. However this book does a fabulous job of assuming that you know absolutely nothing about Ae when you’re on page 8, but by the time you get to page 371, it has done an excellent job of providing you with the most valuable single resource available to prepare you for becoming an Adobe Certified Expert in After Effects. We know of no other Ae home-study opportunity which is this complete.

Is it the ultimate?

No.

Some of the working assets feel a little old as if the author understands the technology of Ae but can’t come up with anything truly exciting. That’s where the other After Effects books are more stimulating.

Does it provide the much needed resources to make a very complex app extremely approachable?

Without a doubt.

In our minds this scores 4.9 out of 5 stars. It could be better but at this point, it’s the best. “Adobe After Effects CC Classroom in a Book” gets our high endorsement.
3 von 3 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Good for beginners, not so much for more experienced users. 14. September 2014
Von L. Freed - Veröffentlicht auf Amazon.com
Format: Kindle Edition Verifizierter Kauf
This is more appropriate for users who are just getting their feet wet in After Effects. I was hoping for something with a little more depth. It's good for beginners, but if you have any AE experience at all, you should probably look elsewhere.
4 von 5 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen NOT the same as US edition! Comparison photo attached. 31. Oktober 2014
Von N.R. - Veröffentlicht auf Amazon.com
This "Asian Edition" of AE Classroom in a Book is NOT "exactly the same contents" as the US edition! It has the same text, but the print quality is lousy, the book is about 10 percent smaller, and the illustrations are useless (see image for comparison). It seems that the illustrations are a pretty critical part of the "contents" of what is essentially a graphic design tutorial, so the claim that it's the same as the US edition is downright fraudulent. You will save twenty bucks over the US edition, but you might as well skip it altogether and save fifty bucks. This one is not worth the space it'll take up on your bookshelf. I returned it and coughed up the money for the "real" version. (It's a very good tutorial, BTW.)
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