When You Close Render Window How Open It Again Cinea 4d

1. After Furnishings User Guide
   
2. Beta releases
   1. Beta Program Overview
   2. After Effects Beta Abode
   3. Features in Beta
      1. Properties panel (Beta)
3. Getting started
   1. Get started with After Effects
   2. What'south new in After Effects
   3. Release Notes | After Effects
   4. After Effects system requirements
   5. Keyboard shortcuts in After Effects
   6. Supported File formats | After Furnishings
   7. Hardware recommendations
   8. After Furnishings for Apple silicon
   9. Planning and setup
   10. Setup and installation
4. Workspaces
   1. General user interface items
   2. Become to know Afterwards Effects interface
   3. Workflows
   4. Workspaces, panels, and viewers
5. Projects and compositions
   1. Projects
   2. Limerick nuts
   3. Precomposing, nesting, and pre-rendering
   4. View detailed performance information with the Composition Profiler
   5. Movie theatre 4D Composition Renderer
6. Importing footage
   1. Preparing and importing still images
   2. Importing from After Effects and Adobe Premiere Pro
   3. Importing and interpreting video and sound
   4. Preparing and importing 3D prototype files
   5. Importing and interpreting footage items
   6. Working with footage items
   7. Detect edit points using Scene Edit Detection
   8. XMP metadata
7. Text and Graphics
   1. Text
      1. Formatting characters and the Character panel
      2. Text furnishings
      3. Creating and editing text layers
      4. Formatting paragraphs and the Paragraph panel
      5. Extruding text and shape layers
      6. Animating text
      7. Examples and resources for text animation
      8. Alive Text Templates
   2. Motion Graphics
      1. Work with Motion Graphics templates in Afterwards Effects
      2. Use expressions to create drib-downwards lists in Motion Graphics templates
      3. Work with Essential Backdrop to create Move Graphics templates
      4. Replace images and videos in Motion Graphics templates and Essential Properties
8. Drawing, Painting, and Paths
   1. Overview of shape layers, paths, and vector graphics
   2. Paint tools: Brush, Clone Stamp, and Eraser
   3. How to taper shape strokes
   4. Shape attributes, paint operations, and path operations for shape layers
   5. Use Offset Paths shape effect to alter shapes
   6. Creating shapes
   7. Create masks
   8. Remove objects from your videos with the Content-Aware Fill up panel
   9. Roto Castor and Refine Matte
9. Layers, Markers, and Camera
   1. Selecting and arranging layers
   2. Blending modes and layer styles
   3. 3D layers
   4. Layer properties
   5. Creating layers
   6. Managing layers
   7. Layer markers and composition markers
   8. Cameras, lights, and points of interest
10. Blitheness, Keyframes, Motion Tracking, and Keying
    1. Animation
       1. Animation basics
       2. Animative with Puppet tools
       3. Managing and animating shape paths and masks
       4. Animative Sketch and Capture shapes using After Furnishings
       5. Assorted animation tools
       6. Work with Data-driven animation
    2. Keyframe
       1. Keyframe interpolation
       2. Setting, selecting, and deleting keyframes
       3. Editing, moving, and copying keyframes
    3. Motion tracking
       1. Tracking and stabilizing motion
       2. Confront Tracking
       3. Mask Tracking
       4. Mask Reference
       5. Speed
       6. Time-stretching and time-remapping
       7. Timecode and time display units
    4. Keying
       1. Keying
       2. Keying effects
11. Transparency and Compositing
    1. Compositing and transparency overview and resources
    2. Alpha channels, masks, and mattes
12. Adjusting color
    1. Color basics
    2. Utilize the Adobe Color Themes extension
    3. Colour management
    4. Color Correction furnishings
13. Effects and Animation Presets
    1. Effects and blitheness presets overview
    2. Effect list
    3. Simulation effects
    4. Stylize furnishings
    5. Sound effects
    6. Distort effects
    7. Perspective effects
    8. Aqueduct furnishings
    9. Generate effects
    10. Transition furnishings
    11. The Rolling Shutter Repair result
    12. Mistiness and Sharpen effects
    13. 3D Channel furnishings
    14. Utility effects
    15. Matte effects
    16. Noise and Grain effects
        
    17. Detail-preserving Upscale effect
    18. Obsolete effects
14. Expressions and Automation
    1. Expression
       1. Expression basics
       2. Understanding the expression language
       3. Using expression controls
       4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines
       5. Editing expressions
       6. Expression errors
       7. Using the Expressions editor
       8. Employ expressions to edit and access text properties
       9. Expression language reference
       10. Expression examples
    2. Automation
       1. Automation
       2. Scripts
15. Immersive video, VR, and 3D
    1. Construct VR environments in After Effects
    2. Employ immersive video effects
    3. Compositing tools for VR/360 videos
    4. Tracking 3D photographic camera movement
    5. Piece of work in 3D Design Infinite
    6. 3D Transform Gizmos
    7. Do more with 3D animation
    8. Preview changes to 3D designs existent time with the Existent-Fourth dimension Engine
    9. Add together responsive design to your graphics
16. Views and Previews
    1. Previewing
    2. Video preview with Mercury Transmit
    3. Modifying and using views
17. Rendering and Exporting
    1. Basics of rendering and exporting
    2. Export an Afterwards Furnishings project as an Adobe Premiere Pro project
    3. Converting movies
    4. Multi-frame rendering
    5. Automated rendering and network rendering
    6. Rendering and exporting even so images and still-image sequences
    7. Using the GoPro CineForm codec in After Effects
18. Working with other applications
    1. Dynamic Link and Afterwards Effects
    2. Working with After Furnishings and other applications
    3. Sync Settings in After Effects
    4. Creative Cloud Libraries in Later Effects
    5. Plug-ins
    6. Picture palace 4D and Cineware
19. Collaboration: Frame.io, and Team Projects
    1. Collaboration in Premiere Pro and After Furnishings
    2. Frame.io
       1. Install and actuate Frame.io
       2. Apply Frame.io with Premiere Pro and Afterward Effects
       3. Ofttimes asked questions
    3. Team Projects
       1. Go Started with Squad Projects
       2. Create a Team Project
       3. Collaborate with Team Projects
20. Memory, storage, performance
    1. Retentivity and storage
    2. Improve performance
    3. Preferences
    4. GPU and GPU driver requirements for Subsequently Furnishings

Rendering and exporting overview

Rendering is the creation of the frames of a moving picture from a composition. The rendering of a frame is the cosmos of a composited ii-dimensional image from all the layers, settings, and other information in a limerick that makes up the model for that image. The rendering of a movie is the frame-by-frame rendering of each of the frames that make up the moving picture. For more data on how each frame is rendered, encounter Return lodge and collapsing transformations.

It is mutual to speak of rendering as if this term simply applies to final output. However, the processes of creating previews for the Footage, Layer, and Composition panels are also kinds of rendering. In fact, it is possible to save a preview equally a moving picture and use that as your final output. (Meet Preview video and audio.)

After a limerick is rendered for final output, it is processed past one or more than output modules that encode the rendered frames into one or more than output files. This process of encoding rendered frames into files for output is one kind of exporting.

Notation :

• See Project settings for more information about projection settings that determine how fourth dimension is displayed in the project, how color data is treated in the project, and what sampling charge per unit to use for audio.
• See Limerick settings to learn how you can specify limerick settings such as resolution, frame size, and pixel attribute ratio for your final rendered output.

After Effects provides various rendering options that assist you accelerate the rendering procedure. GPU acceleration offers better speed and precision in rendering your effects. The Video Rendering and Effects dropdown in the Project Settings dialog box gives yous the following GPU effect rendering options to cull from:

• Software Merely: CPU is used to render effects
• Mercury GPU Dispatch: GPU is used to render effects. On Mac, Mercury GPU Acceleration tin use OpenCL or Metal. On Windows, GPU effect rendering uses either CUDA or OpenCL based on your selection.

Note: GPU-accelerated furnishings may render with pocket-sized colour precision differences in an 8-bpc projection when compared to CPU-only rendering. Set the project to 16-bpc or 32-bpc for accurate results.

After yous have completed a limerick, you can output a moving picture file. In that location are two different methods of outputting a movie file. Choose the 1 based on your needs.

You might need a movie file for the following reasons:

• You lot need a high-quality movie (with or without an alpha aqueduct) or paradigm sequence that will be placed in a Premiere Pro sequence, or used in another video editing, compositing, or 3D graphics awarding.

  To create a high-quality picture file, render it with the Render Queue. See Render and export with the Return Queue panel.

• You need a compressed motion-picture show that will be played on the web, or used for DVD or Blu-ray disc.

  To create a loftier-quality movie file that is compressed for the web, DVD, or Blu-ray disc, encode it using the Adobe Media Encoder. Run across The Adobe Media Encoder.

Some kinds of exporting don't involve rendering and are for intermediate stages in a workflow, not for final output. For example, yous can export a project as an Adobe Premiere Pro project by choosing File > Consign > Adobe Premiere Pro Project. The projection information is saved without rendering. In general, data transferred through Dynamic Link is not rendered.

A moving picture can be made into a single output file that contains all the rendered frames, or it can be made into a sequence of still images (as you lot would do when creating output for a pic recorder).

To generate output, you tin either render your compositions using the Subsequently Effects render queue or add your compositions to the Adobe Media Encoder queue with the render settings that you have chosen in the Render Queue panel.

For the Render Queue, Subsequently Effects uses an embedded version of the Adobe Media Encoder to encode most movie formats through the Render Queue console. When you manage return and export operations with the Render Queue panel, the embedded version of the Adobe Media Encoder is called automatically. The Adobe Media Encoder appears only in the form of the export settings dialog boxes with which you specify some encoding and output settings. (See Encoding and compression options for movies.)

The embedded version of the Adobe Media Encoder used to manage export settings within Subsequently Effects output modules does non provide all the features of the full, stand-alone Adobe Media Encoder application.

Render and export with the Render Queue panel

The primary way of rendering and exporting movies from Later Effects is through the Render Queue console.

When y'all place a composition into the Render Queue console, it becomes a render particular. You can add together many render items to the return queue, and After Effects can render multiple items in a batch, unattended. When you click the Render button in the upper-correct corner of the Render Queue panel, all items with the condition of Queued are rendered and output in the order in which they are listed in the Return Queue panel.

You do not need to render a movie multiple times to export it to multiple formats with the same render settings. You can export multiple versions of the same rendered movie by adding output modules to a render particular in the Render Queue panel.

When working with multiple render items, it is oftentimes useful to add comments in the Annotate column in the Render Queue panel. If the Comment cavalcade is not visible, correct-click (Windows) or Command-click (Mac Bone) a column heading, and choose Columns > Annotate.

Manage render items

In the Render Queue panel, you can manage several render items at in one case, each with its ain render settings and output module settings.

Render settings determine the following characteristics:

• Output frame charge per unit
• Duration
• Resolution
• Layer quality

Output module settings—which are applied afterwards render settings—determine post-rendering characteristics such as the post-obit:

• Output format
• Compression options
• Cropping
• Whether to embed a link to the projection in the output file

Y'all can create templates that contain normally used render settings and output module settings.

Using the Render Queue console, you can render the same composition to different formats or with dissimilar settings, all with one click of the Return push, for instance:

• You can output to a sequence of still images, such as a Cineon sequence, which y'all can and then transfer to film for cinema projection.

• You can output using lossless compression (or no compression) to a QuickTime container for transfer to a non-linear editing (NLE) system for video editing.

You can select, duplicate, and reorder render items using many of the same keyboard shortcuts that you use for working with layers and other items. See General (keyboard shortcuts).

To transfer the output rendered from After Furnishings to film or video, you must take the proper hardware for film or video transfer, or have access to a service bureau that can provide transfer services.

Return and export a movie using the render queue

Select the composition from which to make a movie in the Project panel, and then do one of the post-obit to add together the limerick to the render queue:

• Select Composition > Add together To Render Queue.

  OR

• Drag the composition to the Render Queue console.

To create a composition from a footage item and immediately add that composition to the return queue, drag the footage detail from the Projection panel to the Render Queue panel. It is a user-friendly fashion to convert a footage item from one format to another.

Click the triangle next to Output To in the Render Queue panel to cull a name for the output file based on a naming convention, and then choose a location; or click the text next to the Output To setting to enter whatsoever name. (See Specify filenames and locations for rendered output.)

Click the triangle to the correct of Return Settings to choose a render settings template, or click the underlined text to the right of the Render Settings to customize the settings. (See Render settings.)

Choose a Log type from the Log carte du jour.

When a log file has been written, the path to the log file appears under the Render Settings heading and Log bill of fare.

Click the triangle to the correct of the Output Module to cull an output module settings template, or click the underlined text to the right ofOutput Module to customize the settings. You use the output module settings to specify the file format of the output movie. In some cases, a format-specific dialog box opens afterwards you choose a format, in which you can choose format-specific settings. If you have new preferences as opposed to upgraded or imported preferences, the output module default is set to High Quality.
(See Output modules and output module settings and Encoding and compression options for movies.)

When an output proper name and location have been set up, and render settings and an output module have been selected, the entry in the Return cavalcade automatically becomes selected (shown by a bank check mark) and the status changes to Queued. The status Queued means that the render item is in the render queue.

Printing Caps Lock before yous showtime rendering to prevent the Composition panel from displaying rendered frames. By not updating the Composition panel, Later Effects requires less fourth dimension to process unproblematic render items with many frames.

Click the Render button in the upper-right corner of the Render Queue panel.

Rendering a composition into a picture can take a few seconds or many hours, depending on the limerick's frame size, quality, complexity, and compression method. To fasten the process, use Multi-Frame Rendering.

Encounter this tutorial to learn how to use the render queue to consign files.

When rendering of a return item is complete, it remains in the Render Queue panel with its status inverse to Done until you remove the item from the Render Queue panel. You cannot rerender a completed detail, only yous can indistinguishable it to create a new item in the queue with the same settings or with new settings.

Afterward an item has been rendered, you lot can import the finished movie as a footage detail by dragging its output module from the Return Queue console into the Project panel. (See Import footage items.)

Render queue panel options

Render Queue console with render information

The Render Queue displays the following information:

• Info button - It displays information such as concurrent frames rendering (depends on the quality), time taken by current frame, start frame, and the end frame.

The info button

• Elapsed - Fourth dimension already taken while rendering.
• Remaining - Time remaining for the render to consummate.
• Estimated size - Estimated size of the rendered composition.
• Gratuitous space - Remaining free space on your deejay.

The dynamic Current Render bar represents memory usage - bright dark-green is frames currently rendering, blue is frames written to disk, and dark green in between is frames that have been rendered simply not written to disk. The more % CPU ability is alloted to After Effects, the dark green bar appears less, equally the rendering and writing to deejay process is faster.

Render item statuses

Each render item has a status, which appears in the Condition cavalcade in the Return Queue panel:

Unqueued

The render detail is listed in the Render Queue panel but is non ready to render. Confirm that you lot have selected the desired render settings and output module settings, and then select the Return choice to queue the render detail.

Queued

The render particular is ready to return.

Needs Output

An output filename has non been specified. Choose a value from the Output To menu, or click the underlined Not Yet Specified text next to the Output To heading to specify a filename and path.

Failed

Later Effects was unsuccessful in rendering the render item. Use a text editor to view the log file for specific information on why the rendering was unsuccessful. When a log file has been written, the path to the log file appears under the Render Settings heading and Log menu.

User Stopped

The rendering process was stopped.

Done

The rendering process for the item is complete.

Manage render items and change render statuses

• Select the source composition for a render detail in the Project panel: Right-click (Windows) or Control-click (Mac OS) the return item and cull Reveal Limerick In Project from the context bill of fare.
• Remove a render item from the render queue (change its status from Queued to Unqueued): Deselect the item entry in the Render cavalcade. The item remains in the Render Queue panel.
• Modify the condition of a return item from Unqueued to Queued: Select the item in the Render column.
• Remove a render item from the Render Queue console: Select the item and press Delete, or cull Edit > Clear.
• Rearrange items in the Render Queue console:  Drag an item up or downwardly the queue. A heavy blackness line appears between render items, indicating where the item will exist placed. You can also reorder selected render items past choosing Layer > Arrange, and so choosing Bring Render Particular Forward, Send Render Item Astern, Bring Render Item To Front, or Send Return Item To Back
• Movement selected render items upwardly (earlier) in the render queue: Press Ctrl+Alt+Upwardly Pointer (Windows) or Command+Option+Up Arrow (Mac Os).
  
• Move selected return items downwards (later): Press Ctrl+Alt+Down Arrow (Windows) or Command+Selection+Down Arrow (Mac Os).
• Move selected render items to the tiptop of the render queue: Press Ctrl+Alt+Shift+Up Pointer (Windows) or Command+Pick+Shift+Upwardly Arrow (Mac OS).
  
• Motion selected render items to the bottom (end) of the render queue: Press Ctrl+Alt+Shift+Downwards Arrow (Windows) or Command+Option+Shift+Down Arrow (Mac Os).
• Duplicate a return item: Right-click (Windows) or Control-click (Mac Bone) the render item and cull a command from the context carte du jour:
  • Return with the same filename: Cull Duplicate With File Proper name.
  • Return with a new filename: Choose Duplicate, click the underlined filename next to Output To, enter a new filename, and click Save.

Interruption or end rendering

If the disk (to which an output module is writing) runs out of space, Later Effects pauses the return operation. You tin can clear additional deejay space and so resume rendering and exporting.

• To pause rendering, click Pause. To resume rendering, click Continue.

  While rendering is paused, you cannot alter settings or use After Effects in whatever other way.

• To stop rendering with the purpose of starting the same render once more, Alt-click (Windows) or Option-click (Mac Os) End.

  The render particular for which rendering was stopped is assigned the condition User Stopped, and a new item with the status of Queued is added to the Render Queue panel. The new item uses the same output filename and has the aforementioned duration as the original render item.

• To finish rendering with the purpose of resuming the same render, click Stop.

  The render particular for which rendering was stopped is assigned the status User Stopped, and a new item with the status of Unqueued is added to the Render Queue panel. The new item uses an incremented output filename and resumes rendering at the before frame at which rendering was stopped—so the beginning frame of the new item is the last successfully rendered frame of the stopped particular.

Information shown for current render operations

Basic information about the current batch of renders is shown at the bottom of the Return Queue panel:

• Message - A status bulletin. For example, Rendering ane of 4.

• RAM - Memory available for the rendering process.

• Renders Started - The date and time at which the current batch of renders was started.

• Total Time Elapsed - The rendering time elapsed (non counting pauses) since the current batch of renders was started.

• Notify when render queue completes - Check this box to let After Furnishings notify you lot via Creative Cloud desktop app and mobile app when your render queue chore, or the unabridged queue is finished rendering.
  

To view more data about the electric current render functioning, click the triangle to the left of the Current Render heading. The Current Render pane collapses (closes) after a brusque time. To prevent it from collapsing after a fourth dimension-out period, Alt-click (Windows) or Pick-click (Mac Bone) the triangle next to the Current Render heading. To view details of a completed render, review the log file. When a log file has been written, the path to the log file appears under the Render Settings heading and Log bill of fare.

Change the render-complete sounds

A chime plays when all items in the return queue take been rendered and exported; a dissimilar sound plays if a render operation fails. You can alter the render-complete sounds past replacing files named rnd_okay.wav and rnd_fail.wav in the sounds binder. The sounds folder is in the following location:

• Programme Files\Adobe\Adobe After Furnishings CC 2015\Back up Files (Windows)

• Applications/Adobe After Effects CC/Contents/Resource (Mac Os)

Receive remote notifications when return completes

Render complete notification

After Furnishings tin can send you lot remotenotifications afterward the rendering process is complete, eliminating the need to wait at your machine to know when the files are ready. Notifications are sent to your Artistic Cloud mobile desktop app, your mobile device with the linked Artistic Cloud app installed, along with your smart lookout linked with your mobile.

To enable, you can select from the post-obit options:

• Select Later Effects > Notifications. Cheque the Automatically enable notifications when yous add together a composition to the Render Queue box. Yous can open this dialog box by clicking the bell icon at the bottom left of the Return Queue panel.
  
• In the Render Queue console, cheque the Notify box. When the above checkbox is enabled, the Notify box is checked past default.
• Cheque the Notify when return queue completes box at the bottom of the render queue panel.

You can also export After Effects compositions directly into Adobe Media Encoder, which offers the flexibility to continue working in After Effects while files are existence candy. To spike the procedure, use Mutli-Frame Rendering. When you use Adobe Media Encoder, you can besides use additional presets and options that are not available in the After Effects Render Queue.

Yous can add your composition to the Adobe Media Encoder Queue using one of the post-obit methods:

• Add to Adobe Media Encoder Queue (Composition > Add together to Adobe Media Encoder Queue or File > Export > Add to Adobe Media Encoder Queue) for final rendering using presets and settings specified in Adobe Media Encoder.
• Queue in AME push button in the return queue (Window > Render Queue) for rendering a typhoon re-create of your composition using the render settings specified in the rendering queue, while you proceed to work on the composition.

For data almost using Adobe Media Encoder for rendering, meet Encode video or sound items in Adobe Media Encoder.

Note :

The output module settings, such as format settings or color channel selection, are not transferred to Adobe Media Encoder when you choose the Queue in AME option. The output filename and location are transferred, however, Adobe Media Encoder does not utilise the filename and location templates, which may consequence in image sequence numbering mismatch.

To add a limerick to Adobe Media Encoder, do the following:

Drag the After Effects projection containing the composition y'all desire to encode into the Encoding Queue in Adobe Media Encoder.

You lot tin add a composition to Adobe Media Encoder from Afterward Effects. Do ane of the post-obit:

• Choose Composition > Add To Adobe Media Encoder Queue

• Choose File > Export > Add to Adobe Media Encoder Queue

• Printing Ctrl+Alt+1000 (Windows) or Command+Selection+M (Mac Bone)

The Import Subsequently Effects Limerick dialog box opens. Choose the composition you desire to encode.

Encode the file every bit you unremarkably would past choosing presets and an output location in Adobe Media Encoder.

To add together a composition to the Adobe Media Encoder with render settings for draft rendering:

Choose Limerick > Add to Render Queue or press the keyboard shortcut Control + M (Windows) or Command + M (Mac).

In the Render Queue console, click the Queue in AME button.

Choosing formats and output settings

After Effects provides various formats and pinch options for output. Which format and pinch options you lot choose depends on how your output volition be used. For instance, if the movie that y'all render from Afterward Effects is the final product that volition be played directly to an audience, then you lot need to consider the medium from which you'll play the movie and what limitations you have on file size and information rate. By dissimilarity, if the moving picture that you create from Subsequently Furnishings is an intermediate product that will be used as input to a video editing organization, then you should output without compression to a format compatible with the video editing system. (See Planning your work.)

Go on in heed the fact that you can use different encoding and compression schemes for different phases of your workflow. For example, you may cull to export a few frames as full-resolution still images (for example, TIFF files) when y'all demand approval from a client nigh the colors in a shot; whereas you may export the movie using a lossy encoding scheme (for example, H.264) when you lot need blessing for the timing of the animation.

Supported output formats

Yous can add the ability to export other kinds of data by installing plug-ins or scripts provided past parties other than Adobe.

Unless otherwise noted, all epitome file formats are exported at 8 $.25 per channel (bpc).

Video and animation formats

• QuickTime (MOV)

• Video for Windows (AVI; Windows but)

To create an blithe GIF moving picture, first render and export a QuickTime film from After Effects. Then import the QuickTime flick into Photoshop and export the movie to animated GIF.

• Adobe Premiere Pro projection (PRPROJ)

• Adobe Photoshop (PSD)

• Cineon (CIN, DPX)

• Maya IFF (IFF)

• JPEG (JPG, JPE)

• OpenEXR (EXR)

• PNG (PNG)

• Radiance (HDR, RGBE, XYZE)

• SGI (SGI, BW, RGB)

• Targa (TGA, VBA, ICB, VST)

• TIFF (TIF)

• Audio Interchange File Format (AIFF)

• MP3

• WAV

Collect files in ane location

The Collect Files command gathers copies of all the files in a projection or composition into a unmarried location. Use this command before rendering, for archiving, or for moving a project to a different computer system or user business relationship.

When you lot apply the Collect Files command, Later Furnishings creates a new binder and the following information is saved in the new binder:

• A new copy of the project
• Copies of the footage files
• Proxy files as specified
• A written report describing the files, effects, and fonts necessary to re-create the project and render the compositions.

Later on you collect files, y'all can continue making changes to a project, but be enlightened that those changes are stored with the original project and not with the newly collected version.

Choose File > Dependencies > Collect Files.

In the Collect Files dialog box, cull an advisable option for Collect Source Files.

All

Collects all footage files, including unused footage and proxies.

For All Comps

Collects all footage files and proxies used in whatever limerick in the project.

For Selected Comps

Collects all footage files and proxies used in compositions currently selected in the Project panel.

For Queued Comps

Collects all footage files and proxies used directly or indirectly in any of the compositions with a Queued status in the Return Queue panel.

None (Project Simply)

Copies the project to a new location without collecting any source footage.

Select other options, as advisable:

Generate Report Only

Selecting this option does not re-create the files and proxies.

Obey Proxy Settings

Use this pick with compositions that include proxies to specify whether you want the copy to include the current proxy settings. If this option is selected, only the files used in the composition are copied. If this option is non selected, the copy contains both proxies and source files, so yous can subsequently change proxy settings in the collected version.

If you cull For Queued Comps in the Collect Source Files dialog box, After Effects uses the proxy settings from the return settings, not the composition.

Reduce Project

Removes all unused footage items and compositions from the collected files when the following options are chosen in the Collect Source Files carte du jour: For All Comps, For Selected Comps, and For Queued Comps.

Modify Render Output To

Employ to redirect the output modules to return files to a named folder in the collected files folder. This option ensures that you lot have access to your rendered files when you're rendering the project from another computer. Rendering status must be valid (Queued, Unqueued, or Volition Continue) for the output modules to return files to this folder.

Enable 'Sentinel Folder' Render

You tin use the Collect Files command to save projects to a specified picket binder and so initiate watch-binder rendering over a network. Afterwards Effects also includes a render control file chosen [projection name]_RCF.txt, which signals to watching computers that the project is available for rendering. After Effects and any installed render engines tin and then render the project together across a network. (See Gear up up watch-folder rendering.)

Maximum Number Of Machines

Use to specify the number of return engines or licensed copies of After Effects that you want to allocate to render the collected project. Below this pick, After Effects reports how many items in the projection will be rendered using more than i reckoner.

If rendering time is unusually long, you may have gear up Maximum Number Of Machines also high, and the network overhead required to rail rendering progress among all computers is out of proportion to the time spent really rendering frames. The optimal number depends on many variables related to the network configuration and the computers on information technology; experiment to determine the optimal number for your network.

To add your own information to the report that volition exist generated, click Comments, enter your notes, and click OK. The comments appear at the end of the report.

Click Collect. Proper noun the folder and specify a location for your nerveless files.

Once you outset the file drove, After Effects creates the binder and copies the specified files to it. The folder hierarchy is the same as the hierarchy of folders and footage items in your projection. The new folder includes a (Footage) binder and may include an output folder (if you selected Change Render Output To).

The names of these folders announced in parentheses to signal to any attention return engines that they should not search these folders for projects.

Specify filenames and locations for rendered output

You can locate a previously rendered item or check the destination of a queued render item by expanding the Output Module group in the Render Queue panel and clicking the underlined file path, or by right-clicking (Windows) or Control-clicking (Mac OS) the Output Module heading.

Specify the filename and location for a single return detail

• To manually enter a filename and destination folder, click the underlined text next to the Output To heading.
• To name a file using a file naming template, click the triangle next to the Output To heading, and choose a template from the menu.

Create and use a custom file naming template

You tin use custom templates to name the output according to properties of the composition and projection.

To make a file naming template the default template, concord downwardly Ctrl (Windows) or Command (Mac OS) every bit you choose the template from the Output To menu.

In the Render Queue panel, choose Custom from the Output To menu.

If you want to base the new file-naming template on an existing template, choose the existing template from the Preset bill of fare.

Click in the Template box where you lot want to insert a file-naming dominion, and practice any of the following:

• To add together a preset holding to the filename, cull the property from the Add Holding menu.

• Enter text in the Template box.

Make sure that the insertion betoken is outside the square brackets [ ] of preset properties.

• To save the file-naming template as a preset for future use in the Output To card, click the Save push . In the Cull Name dialog box, enter a name for the file-naming template, and click OK.

• To ever employ the selected file-naming template, select Default.

• To utilize the selected file-naming template to the current Output Module, click OK.

Name output files automatically

The Employ Default File Name And Folder preference ensures that all compositions added to the return queue are automatically assigned a unique output filename (except for files created by saving previews, which withal use the composition name). When this option is selected, each render item is assigned the same binder proper name as the previous render item until you change the path. If a composition is rendered more than one time, After Effects adds a number to the filename (for example, composition_name_1).

Avoid using loftier-ASCII or other extended characters in filenames for projects to exist used on dissimilar platforms or rendered using a watch binder.

Cull Edit > Preferences > Output (Windows) or Afterward Effects > Preferences > Output (Mac Os).

Select Apply Default File Proper noun And Folder.

Support for paths in templates

You can add paths to templates. Absolute paths can exist defined in a template. For example, you can ascertain and save a template that always places rendered files in E:\Output\[compName].[extension].

Return settings

Render settings apply to each render item and decide how the limerick is rendered for that specific render item. By default, the render settings for a return item are based on the current project settings, limerick settings, and switch settings for the composition on which the render item is based. However, you lot can modify the return settings for each render item to override some of these settings.

Render settings utilize to the root composition for a render item, as well equally all nested compositions.

Render settings only affect the output of the return item with which they're associated; the composition itself is not afflicted.

Render settings

Alter return settings

• To modify render settings for a return item, click the render settings template name next to the Render Settings heading in the Render Queue console, and choose settings in the Return Settings dialog box.
• To utilize a render settings template to selected render items, click the triangle next to the Render Settings heading in the Render Queue console, and choose a template from the menu. You lot can choose a custom render settings template or one of the preset return settings templates:

  Best Settings: Often used for rendering to final output.

  Typhoon Settings: Oftentimes appropriate for reviewing or testing move.

  DV Settings: Similar to All-time Settings, only with Field Rendering turned on, set to Lower Field Showtime.

  Multi-Automobile Settings: Similar to Best Settings, but with Skip Existing Files selected to enable multi-machine rendering.

The default return settings template is assigned to a return item when it is created. To alter which return settings template is the default, agree downward Ctrl (Windows) or Command (Mac OS) as y'all cull a render settings template from the menu.

Create, edit, and manage return settings templates

You perform the following tasks in the Render Settings Templates dialog box. To open the Render Settings Templates dialog box, cull Edit > Templates > Return Settings, or click the triangle adjacent to the Render Settings heading in the Render Queue panel and choose Make Template.

• To make a new render settings template, click New, specify return settings, and click OK. Enter a name for the new template.
• To edit an existing return settings template, choose a template from the Settings Name menu, click Edit, and specify render settings.

Changes to an existing template practice not affect render items that are already in the return queue.

• To specify a default render settings template to be used when rendering movies, individual frames, pre-rendered movies, or proxies, choose a template from a menu in the Defaults surface area of the Render Settings Templates dialog box.
• To save all currently loaded render settings templates to a file, click Salve All.
• To load a saved return settings template file, click Load, select the render settings template file, and and then click Open.

Render settings reference

Each of these settings overrides limerick settings, project settings, or layer switch settings.

Log

You can choose how much information Afterwards Furnishings writes to a return log file. If you choose Errors Simply, After Effects only creates the file if errors are encountered during rendering. If you lot choose Plus Settings, a log file is created that lists the electric current render settings. If yous choose Plus Per Frame Info, a log file is created that lists the current render settings and information about the rendering of each frame. When a log file has been written, the path to the log file appears nether the Return Settings heading and Log menu.

Quality

The quality setting to use for all layers. (Meet Layer prototype quality and subpixel positioning.)

Resolution

Resolution of the rendered composition, relative to the original composition dimensions. (See Resolution.)

If you render at reduced resolution, gear up the Quality option to Draft. Rendering at Best quality when reducing resolution produces an unclear image and takes longer than Draft quality.

Disk Cache

Determines whether the deejay cache preferences are used during rendering. Read But writes no new frames to the disk cache while After Effects renders. Current Settings (default) uses the disk enshroud settings defined in the Media & Disk Cache preferences.

Proxy Use

Determines whether to use proxies when rendering. Current Settings uses the settings for each footage detail. (See Placeholders and proxies.)

Effects

Current Settings (default) uses the current settings for Effect switches . All On renders all applied effects. All Off renders no effects.

Solo Switches

Electric current Settings (default) uses the current settings for Solo switches for each layer. All Off renders equally if all Solo switches are off. (Run into Solo a layer.)

Guide Layers

Current Settings renders guide layers in the top-level limerick. All Off (the default setting) does non return guide layers. Guide layers in nested compositions are never rendered. (See Guide layers.)

Color Depth

Electric current Settings (default) uses the project flake depth. (See Color depth and high dynamic range color.)

Frame Blending

On For Checked Layers renders frame blending just for layers with the Frame Blending switch set, regardless of the Enable Frame Blending setting for the limerick. (Come across Frame blending.)

Field Render

Determines the field-rendering technique used for the rendered limerick. Cull Off if you are rendering for flick or for display on a calculator screen. (See Interlaced video and separating fields.)

three:ii Pulldown

Specifies the phase of 3:2 pulldown. (See Introduce iii:2 pulldown.)

Movement Blur

Electric current Settings uses the current settings for the Motion Blur layer switch and the Enable Motion Mistiness composition switch. On For Checked Layers renders move blur only for layers with the Motion Blur layer switch prepare, regardless of the Enable Move Blur setting for the limerick. Off For All Layers renders all layers without motility mistiness regardless of the layer switch and composition switch settings. (Encounter Movement blur.)

Fourth dimension Span

How much of the limerick to render. To return the entire composition, cull Length Of Comp. To render merely the part of the limerick indicated by the work surface area markers, choose Work Expanse But. To render a custom time bridge, choose Custom. (See Work area.)

Frame Charge per unit

The sampling frame rate to use when rendering the motion picture. Select Use Comp'south Frame Rate to use the frame rate specified in the Composition Settings dialog box, or select Use This Frame Rate to employ a different frame rate. The bodily frame charge per unit of the composition is unchanged. The frame rate of the last encoded movie is adamant by the output module settings. (See Frame charge per unit.)

Skip Existing Files

Lets you rerender part of a sequence of files without wasting time on previously rendered frames. When rendering a sequence of files, After Effects locates files that are role of the current sequence, identifies the missing frames, and and so renders only those frames, inserting them where they belong in the sequence. You can besides utilise this option to return an image sequence on multiple computers. (See Render a still-prototype sequence with multiple computers.)

The current image sequence must have the aforementioned proper noun as the existing image sequence, and the starting frame number, frame rate, and time span must be the aforementioned. Yous must return to the folder that contains the previously rendered frames.

Output modules and output module settings

Output module settings apply to each render detail and determine how the rendered movie is processed for final output. Utilize output module settings to specify file format, output color profile, compression options, and other encoding options for last output.

Yous can besides use output module settings to ingather, stretch, or shrink a rendered movie; doing this after rendering is often useful when you are generating multiple kinds of output from a single composition.

Output module settings are practical to the rendered output that is generated according to the render settings.

For some formats, an additional dialog box opens when yous choose the format in the Output Module Settings dialog box. You can modify these settings and use settings presets to specify format-specific options, such as pinch options.

You lot can apply multiple output modules to each render particular, which is useful when you desire to make more than one version of a film from one return. For example, you can automate the creation of a moving picture and its blastoff matte, or you lot can create loftier-resolution and low-resolution versions of a movie.

Before rendering, check the Audio Output settings in the Output Module Settings dialog box to ensure that they are right. To render audio, Audio Output must exist selected. If your composition does not include audio, do not select Audio Output, and then that the size of the rendered file does not increment needlessly.

You tin set the output module of multiple return queue items at the same time. Select the render queue items, and then choose an output module template from the Output Module Settings menu for one of the items.

You can drag an output module to the Project console to import the finished movie or a placeholder into the project for use equally a footage item. (Meet Import footage items.)

Andrew Kramer provides a video tutorial with tips for working with proxies, output modules, and output module templates on the Video Copilot website.

Modify output module settings

• To change output module settings for a return item, click the underlined output module settings template proper noun adjacent to the Output Module heading in the Render Queue panel, and cull settings in the Output Module Settings dialog box.
• To apply an output module settings template to selected render items, click the triangle next to the Output Module heading in the Return Queue panel, and choose a template from the menu.

  You can cull a custom output module settings template or i of the preset output module settings templates. Several templates are provided, including the Lossless template for creating movies for transfer to video, film, or an NLE organization.

The default output module settings template is assigned to a render item when it is created. To modify which output module template is the default, hold down Ctrl (Windows) or Control (Mac Os) as you choose an output module template from the bill of fare.

To change output module settings for multiple output modules at in one case, select the output modules and and then choose an output module template. The template is applied to all selected output modules.

Create, manage, and edit output module templates

You perform the following tasks in the Output Module Templates dialog box. To open the Output Module Templates dialog box, choose Edit > Templates > Output Module, or click the triangle adjacent to the Output Module heading in the Render Queue panel and choose Make Template.

• To brand a new output module settings template, click New, specify output module settings, and click OK. Enter a name for the new template.
• To edit an existing output module settings template, choose a template from the Settings Proper name bill of fare, click Edit, and specify output module settings.

Changes to an existing template do non affect render items that are already in the render queue.

• To specify a default output module settings template to exist used when processing movies, individual frames, previews, pre-rendered movies, or proxies, choose a template from a menu in the Defaults area of the Output Module Templates dialog box.
• To save all currently loaded output module templates to a file, click Relieve All.
• To load a saved output module template file, click Load, select the output module template file, and and so click Open.

Add together output modules to and remove output modules from render items

• To add a new output module with default settings to a single return particular, click the plus (+) sign to the left of the Output To heading of the last output module for the render item.
• To remove an output module from a render item, click the minus (-) sign to the left of the Output To heading of the output module.
• To add a new output module with default settings to selected render items, cull Composition > Add together Output Module.
• To duplicate selected output modules, printing Ctrl+D (Windows) or Control+D (Mac Bone).

Output module settings

For information on using controls in the Colour Management surface area of the Output Module Settings dialog box, meet Assign an output color profile.

Format

Specifies the format for the output file or sequence of files.

Include Project Link

Specifies whether to include information in the output file that links to the source Afterwards Furnishings project. When you open the output file in another application, such as Adobe Premiere Pro, yous can use the Edit Original command to edit the source project in Subsequently Effects.

Include Source XMP Metadata

Specifies whether to include XMP metadata in the output file from the files used every bit sources for the rendered composition. XMP metadata can travel all the way through After Effects from source files, to footage items, to compositions, to rendered and exported files. For all default output module templates, Include Source XMP Metadata is deselected past default. (Come across Exporting XMP metadata from After Furnishings.)

Post-Render Action

Specifies an action for Subsequently Effects to perform after the composition is rendered. (See Mail service-render actions.)

Format Options

Opens a dialog box in which you specify format-specific options.

Channels

The output channels contained in the output movie. Subsequently Furnishings creates a movie with an alpha channel if y'all cull RGB+Alpha, implying a depth of Millions of Colors+. Not all codecs support alpha channels.

All files created with a color depth of Millions of Colors+, Trillions of Colors+, or Floating Indicate + accept labeled alpha channels; information describing the alpha channel is stored in the file. Therefore, yous do not have to specify an blastoff estimation each time you import an item created in After Effects.

Depth

Specifies the colour depth of the output moving-picture show. Certain formats may limit depth and color settings.

Color

Specifies how colors are created with the alpha channel. Choose from either Premultiplied (Matted) or Straight (Unmatted). (See Blastoff aqueduct estimation: premultiplied or straight.)

Starting #

Specifies the number for the starting frame of a sequence. For example, if this choice is set to 38, After Furnishings names the outset frame [file_name]_00038. The Use Comp Frame Number option adds the starting frame number in the work expanse to the starting frame of the sequence.

Resize

Specifies the size of your output movie. Select Lock Attribute Ratio To if you lot want to retain the existing frame attribute ratio when resizing the frame. Select Low Resize Quality when rendering tests, and select High Resize Quality when creating a final motion picture. (Meet Scaling a movie downward and Scaling a film up.)

Crop

Used to subtract or add rows or columns of pixels to the edges of the output movie. You can specify the number of rows or columns of pixels to be added or subtracted from the top, left, bottom, and right sides of the motion picture. Use positive values to crop, and use negative values to add rows or columns of pixels. Select Region Of Interest to export only the region of interest selected in the Composition or Layer panel. (See Region of interest (ROI).)

By adding one row of pixels to the top and subtracting one row from the bottom of a movie, yous can change the field order.

Audio Output

Specifies the sample charge per unit, sample depth (8 Bits or 16 Bits), and playback format (Mono or Stereo). Cull a sample rate that corresponds to the capability of the output format. Choose an viii-bit sample depth for playback on the computer, and a 16-bit sample depth for CD and digital audio playback or for hardware that supports 16-bit playback.

The specifications for some formats impose limits on sound parameters. In such cases, audio options may be unavailable for modification in the Output Module Settings dialog box. Also, sound options for some formats are set in the consign settings dialog box for that format. For example, to prepare audio output options for Windows Media, click Format Options in the Output Module Settings dialog box.

Warning for mismatch in frame rate or dimensions

Some formats enforce constraints on frame dimensions and frame rate.

If you choose such a constrained output format, and your limerick, its render settings, or its output module settings don't match the constraints, and then After Effects shows a yellow warning icon and the message "Settings mismatch" at the bottom of the Output Module Settings dialog box.

Click the warning icon to meet a detailed message that describes how the output file will exist modified to encounter the format constraints. Yous can become back and alter composition settings, render settings, and output module settings if you don't want After Effects to make the changes automatically in the output module.

For more data nearly output module constraints and the warnings for mismatches in frame rate, dimensions, and pixel attribute ratio, see the Adobe website.

Encoding and compression options for movies

Compression is essential for reducing the size of movies so that they tin can be stored, transmitted, and played back finer. Compression is achieved by an encoder; decompression is achieved by a decoder. Encoders and decoders are known by the common term codec. No single codec or ready of settings is best for all situations. For example, the best codec for compressing drawing animation is mostly not efficient for compressing live-action video. Similarly, the all-time codec for playback over a deadening network connection is generally not the best codec for an intermediate stage in a production workflow. For information on planning your work with final output in mind, see Planning your piece of work.

Later on Effects uses an embedded version of the Adobe Media Encoder to encode most pic formats through the Render Queue console. When you manage render and export operations with the Render Queue panel, the embedded version of the Adobe Media Encoder is called automatically. The Adobe Media Encoder appears but in the form of the export settings dialog boxes with which yous specify some encoding and output settings.

The embedded version of the Adobe Media Encoder used to manage export settings within Afterwards Effects output modules does not provide all the features of the total, stand-alone Adobe Media Encoder application. For information about the full, stand-alone Adobe Media Encoder application, see Adobe Media Encoder Help.

For most output formats, you can specify format-specific encoding and compression options. In many cases, a dialog box opens and presents these options when you choose a format to export to or click the Format Options button in the Output Module settings dialog box. (Come across Output modules and output module settings.)

QuickTime (MOV) encoding and compression settings

In the Render Queue panel, click the underlined proper name of the output module.

Choose QuickTime from the Format menu.

Click Format Options in the Video Output section.

In the QuickTime Options dialog box, cull a codec and fix options according to the specific codec and your needs:

Quality

A higher Quality setting produces better paradigm quality but results in a bigger motion picture file.

Key Frame Every

In QuickTime terminology, the term fundamental frames refers to something different from the change-over-time keyframes placed in the Afterward Furnishings Timeline panel. In QuickTime, key frames are frames that occur at regular intervals in the movie. During compression, they are stored as complete frames. Each intermediate frame that separates them is compared to the previous frame, and only changed data is stored. Using key frames greatly reduces movie size and greatly increases the memory required to edit and render a moving picture. Shorter intervals between key frames enable faster seeking and opposite playback, only can significantly increase the size of the file.

Frame Reordering

Some codecs allow for frames to exist encoded and decoded out of order for more than efficient storage.

Note: For more data on QuickTime, see the Apple website.

Specify other settings in the Output Module Settings dialog box.

Mail-return actions

You can utilise postal service-render deportment to automate simple tasks that occur after a limerick is rendered.

A mutual case of the use of post-render deportment is with pre-rendering: Choosing Limerick > Pre-render adds the selected composition to the render queue and sets the Post-Render Action pick to Import & Supervene upon Usage.

You choose Mail-Return Action options in the Output Module group, and so be aware that changing the Output Module template could as well change the Mail-Render Action option. (Meet Output modules and output module settings.)

Expand the Output Module group in the Render Queue panel by clicking the arrow to the left of the Output Module heading.

Choose one of the post-obit from the Post-Render Activity menu:

None

Performs no post-render action. This option is the default.

Import

Imports the rendered file into the project as a footage item when the rendering is consummate.

Import & Supervene upon Usage

Imports the rendered file into the project and substitutes it for the specified detail. Drag the selection whip to the item to supplant in the Project panel to specify information technology.

Use the Import & Supervene upon Usage option to create a concatenation of dependent render items. For example, you can set one render detail to use a lookout man binder and multiple computers to create a still-image sequence, and so the next render detail tin can render a single movie file from that still-prototype sequence. (See Network rendering with watch folders and return engines.)

Gear up Proxy

Sets the rendered file equally a proxy for the specified item. Elevate the choice whip to the item in the Projection panel detail to specify it.

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Source: https://helpx.adobe.com/after-effects/using/basics-rendering-exporting.html

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