Adobe After Effects CS5.5, Win

Adobe After Effects CS5.5, Win
Adobe After Effects CS5.5 What’s New
Adobe® After Effects® CS5.5
Transform moving images
Deliver cinematic visual effects and sophisticated motion graphics with Adobe After Effects
CS5.5 software, the industry-leading native 64-bit animation and compositing application,
now with sophisticated stabilization, lens and lighting effects, and the most efficient
performance ever.
Adobe After Effects CS5.5 is also
available as a component of Adobe
Creative Suite® 5.5 Production
Premium and Adobe Creative Suite
5.5 Master Collection software.
Adobe Creative Suite 5.5 Production
Premium combines full versions of:
•Adobe Premiere Pro® CS5.5
•Adobe After Effects CS5.5
•Adobe Photoshop® CS5 Extended
•Adobe Audition® CS5.5
• Adobe Flash Catalyst CS5.5
•Adobe Flash® Professional CS5.5
•Adobe Illustrator® CS5
• Adobe OnLocation™ CS5
•Adobe Encore® CS5
Additional components:
•Adobe Device Central CS5.5
• Adobe Bridge® CS5
• Adobe Media Encoder CS5.5
Special suite feature:
•Adobe Dynamic Link
After Effects CS5.5 delivers 64-bit performance that dramatically improves the experience of creating
high resolution content. Streamlined tools and tight integration with other Creative Suite components
accelerate your workflow, and an open-ended environment fosters creative experimentation. Realize
your vision quickly and efficiently with a comprehensive set of tools designed to help you solve any
creative challenge. Deliver your completed projects to a wide range of formats, from large-format feature
films and high definition television to websites and mobile devices. After Effects CS5.5 adds the Warp
Stabilizer, which raises the quality of handheld footage, and Camera Lens Blur, which faithfully recreates
the look of a defocused camera lens, whether applied as an effect or with the After Effects 3D camera.
These new features add to a wide range of innovative 2D and 3D creation, compositing, and animation
tools in After Effects. New timecode support takes the guesswork out of selecting source footage directly,
and a stereoscopic 3D workflow speeds what is otherwise a tedious setup process. Take advantage of
enhanced RED camera support added in the 10.0.1 upgrade of After Effects CS5 by working with Red
Rocket cards and accessing RMD metadata. Import Cinema DNG files, and export comps as XDCAM EX
files. Expanded color look-up-table (LUT) support helps you ensure accuracy across a variety of imagecreation and delivery platforms.
Integrates with Adobe CS Live
online services* †
Subscription option
Get the same product with
low monthly payments. Visit
www.adobe.com/cssubscription to
learn more.
Warp Stabilizer automatically smooths the motion of a handheld shot without creating keyframes. It offers easy-to-use controls to
define the amount of stabiilization (and thus the amount of cropping) applied.
Top new features
•Smooth a camera move with Warp
Stabilizer (Page 2)
•Create beautiful soft-focus effects
with Camera Lens Blur (Page 3)
•Take the guesswork out of edits
with source timecode support (Page 4)
• Effortlessly establish a stereoscopic
3D workflow (Page 5)
•Control light intensity falloff (Page 6)
•Work with more high-definition
source formats (Page 6)
•Make use of additional LUTs (Page 7)
•Export XDCAM EX footage (Page 7)
•Collaborate easily with colleagues
still using After Effects CS5 (Page 7)
•Benefit from small changes that
make a big difference (Page 7)
Who uses After Effects?
Motion graphics designers and visual effects artists use After Effects to produce intricately
designed short-form content such as TV commercials, broadcast graphics, and film titles, and to
create a wide range of visual effects shots. After Effects is able to handle virtually any animation
and compositing task, and offers timesaving integration with other essential tools—Adobe
Photoshop and Illustrator software, the video editing software Adobe Premiere Pro, and 3D
modeling applications such as Maxon CINEMA 4D and Autodesk Maya. A rich ecosystem of
third-party plug-ins means highly specialized solutions are readily available.
Video editors and other post-production professionals use After Effects to complement
nonlinear editing tools such as Adobe Premiere Pro because it offers an efficient, well-integrated
solution for delivering higher production values. When designing attention-getting show openers,
lower thirds, and other types of motion graphics, After Effects offers timesaving presets and
templates as well as the ability to refine virtually every aspect of every design element. Video
editors also use After Effects for a wide variety of post-production tasks, including color correction,
motion tracking and stabilization, and keying and rotoscoping.
Interactive designers turn to After Effects because it offers flexible tools they can use to prepare
dynamic media that integrates well with interactive projects and the tools used to create them.
Whether they’re creating videos with transparent backgrounds that can be composited with other
elements in real time in Flash® Player, designing snippets of persistent motion that add richness to
an interactive experience, or creating visually distinctive text animations, interactive designers
benefit from tight integration between After Effects and Adobe Flash Professional software.
Top new features of Adobe After Effects CS5.5
Smooth a camera move with Warp Stabilizer
Handheld footage is often shaky, with distracting motion artifacts, and it’s simply not practical to
use a counter-balanced camera rig or keep a dolly or crane ready for every moving shot. Warp
Stabilizer provides an innovative solution that makes hand-held footage look as if it had been shot
with a complicated, expensive camera rig. It can even use pixel analysis to resolve artifacts related
to motion and parallax. You can’t stabilize a shot without scaling somewhat to compensate for
missing areas of frame, but this new approach requires less zooming than most available
alternatives. You can use Warp Stabilizer either to smooth the existing motion of a camera while
preserving the movement, or to create a locked-off shot, with no camera movement whatsoever.
Warp Stabilizer offers you a good deal
of control over the automated result
without the need for any actual
keyframes in the timeline. The Subspace
Warp option, chosen by default,
performs pixel analysis to correct for
motion artifacts. This correction is
necessary to complement the change in
perspective that results from
stabilization, which changes parallax
within the shot.
You can see a preliminary result in just one step: Apply Warp Stabilizer to the source layer, and let
After Effects perform analysis and stabilization. Analysis begins automatically without the need to
set tracking points or make any decisions whatsoever. Stabilization progress is displayed onscreen
in a two-step process, first analyzing and then stabilizing; once the second step is complete, the
result is ready for immediate review.
But Warp Stabilizer doesn’t just smooth the motion of the camera. It also will remove motion
artifacts that otherwise remain after stabilization. Warp Stabilizer processes individual areas of the
frame separately to compensate for parallax. If these corrections are not desired, other modes can
be used to stabilize only perspective, or scale and rotation, or even just position.
Adobe After Effects CS5.5 What’s New
2
What is parallax?
Parallax is the phenomenon
which causes objects closer
to a camera to move more,
relative to the frame, than
do items further away. It
can also lead objects in
frame to move in opposite
directions; for example,
if the camera revolves
around a mid-ground
subject, the foreground and
background will move in
opposite directions.
The Warp Stabilizer effect offers further refinements as well. You can raise or lower the default
amount of smoothness, which has a direct effect on the amount of automatic scaling. In the
advanced controls, you can control whether to create a smoother shot with more cropping, or
reduce the amount of both cropping
and scaling by reducing the overall
degree of smoothing.
You also have control over image
behavior at the borders. In some cases,
reducing the amount of cropping and
scaling will reveal blank space at the
edges of the frame where there is no
image data. When you choose the
method called Stabilize And Synthesize
Edges, the borders automatically are
filled in using information from
Warp Stabilizer displays progress (during analysis) and then control
adjacent frames. In other cases you
over the result.
may prefer to crop without scaling or
just to stabilize, leaving the gaps at the edge of frame in place.
Create soft-focus effects with Camera Lens Blur
Camera lens blur re-creates in post-production the (often beautiful, even fascinating) abstract
characteristics that appear in the defocused areas of a camera image. With this effect, footage shot
in perfect focus can take on the elegant attributes of a soft focus image. This realistic blur can be
applied with the new Camera Lens Blur effect or generated automatically via Depth Of Field
controls in the After Effects camera.
In soft focus areas, Camera Lens Blur creates edge halos in the shape of the iris blades, just as a real,
defocused camera lens does. The iris shape (from triangle up to decagon, representing the number
of blades in the camera iris) determines the shape of a halo. Alongside this control are a number of
other options to specify the exact characteristics of the iris.
Enabling depth-of-field blur with
the After Effects camera activates
camera blur controls, including Iris
Shape. The amount of blur is
determined by the focus distance
and aperture settings.
What is bokeh?
Bokeh is a term originally coined
in Japan for the qualities of defocused light areas as seen through
a lens. Points of light become
circles of confusion—bright
disks that take on the shape of
the camera iris—as seen in many
cinematic night shots. Although
occasionally regarded as a flaw,
bokeh more often is viewed as
a lovely and dvesirable way to
introduce visual interest using
shallow depth of field.
You can also create bokeh effects when overbright highlights are present in 32 bpc mode. These
occur in After Effects when you raise the intensity of 3D lights, or even more simply when you
change the highlight gain, threshold, and saturation controls. These are useful to create realistic
highlights, should you be working with source material without true over-range values.
If you use the After Effects camera depth-of-field settings with 3D layers, then the Depth of Field,
Focus Distance, and Aperture settings work together just as in previous versions to allow full
control over rack focus effects in actual 3D space. New options in the Camera section of the Layer
menu allow you to link the Point Of Interest and Zoom Distance, to focus on a selected layer, or
even to follow focus on an animated layer. The result of these changes is that the behavior—and
therefore, the look—of shallow depth of field from the After Effects camera now more closely
resembles those produced by a real camera.
With the Camera Lens Blur effect, a separate layer can serve as a map to create depth-of-field
effects in a 2D scene. The effect can also be used without a map to defocus the entire scene
equally. You can create rack focus effects by adjusting the focal distance setting, converting
Adobe After Effects CS5.5 What’s New
3
whichever channel values you specify to grayscale values that correspond to depth. The white
areas of the map are fully blurred, the black areas not at all, while any gray areas transition between
the two extremes.
Bokeh blur is the natural result
when highlights appear in the
defocused area of an image, but it
is not a part of most blur
operations. The depth-of-field
effects on the right bring focus to
the face by making the foreground
appear defocused.
Take the guesswork out of edits with source timecode support
Timecode support saves steps when working directly with source footage. Without it, you are left
to guess based on visual clues or frame counts how a video selection is edited, increasing the
likelihood of extra steps and careless errors. Suppose that an editor wants you to check specific
frames to evaluate how well the background can be color keyed. With timecode information, you
can be confident you’re reviewing the same images. Whereas previously you needed a nonlinear
editor such as Adobe Premiere Pro to access timecode, you now can save time and avoid ambiguity
by accessing this data directly in After Effects.
Timecode is embedded in source media when recorded and used to log takes when edited.
Timecode hours, minutes, seconds, and frames settings are absolute and do not change, making it
possible to determine exactly where a clip begins and ends. Most video formats, including
QuickTime, AVI, Broadcast WAV, DPX, and some variations of MXF embed timecode data that can
be read by After Effects. Timecode offsets can be recorded as XMP metadata.
Timecode data are automatically imported with eligible source files and appear in the Project
panel. You can search for a clip using the source data. A set of clips can be sorted in chronological
order, regardless of clip names or other attributes, just by clicking on the In Point column heading.
When working with a large project, you can organize source clips by the reel on which they were
shot; this information also appears directly in the Project panel.
After Effects can read embedded source timecode data, enabling more precision when working directly with source
footage. If a tape name has been specified, it appears in the Project panel along with the in and out points of a source clip.
Adobe After Effects CS5.5 What’s New
4
The Timecode effect, which displays timecode graphically when applied to a clip, has also been
updated to either read source timecode directly or to use values based on composition timing or
whatever values you choose. This allows you not only to display accurate timecode in a
composition containing a source clip, but also to use timecode as a customizable graphical
element in compositions.
While you may still want to do the majority of your previewing and editing in applications designed
for that purpose, having this capacity in After Effects gives you a sure-fire method to get the
numbers right.
Easily establish a stereoscopic 3D workflow
Expand your creative toolset
Open up creative possibilities as you
tackle a broad spectrum of planning,
production, and post-production
tasks with Adobe Creative Suite 5.5
Production Premium.
Get more creative power at an
appealing price. In addition to Adobe
Premiere Pro, Encore, and OnLocation, CS5.5 Production Premium
offers the latest versions of Adobe
After Effects, Photoshop Extended,
Flash Professional, Flash Catalyst,
Audition, and Illustrator.
Move up to Production Premium to:
Create rich visual effects and
sophisticated motion graphics.
After Effects gives you everything
you need to create opening titles,
animated graphics, and visual effects,
as well as to create and move images
and video in 3D. Eliminate unwanted
camera movement and compensate
for optic irregularities caused by
camera motion with Warp Stabilizer.
After Effects CS5.5 makes it easier than before to set up a stereo-ready 3D image pipeline for
review and output of stereo scenes that use the After Effects camera. Initial setup is nearly
instantaneous. Start with a composition containing 3D elements, select the main camera (if one is
present) and then simply choose Layer > Create Stereo 3D Rig. A right and a left camera are
created flanking the master camera, and a set of nested compositions is established with a stereo
3D view containing left and right eye nested compositions, each of which contains the original
source composition viewed with the appropriate camera.
The stereo 3D composition includes a control layer with two individual effects already applied,
using customizable presets: Stereo 3D Controls and 3D Glasses. The Stereo 3D Controls effect
allows you to center around any one of the three cameras and adjust the stereo depth by changing
the distance between the left and right views (known as the “interaxial” or “interocular” distance).
The cameras can remain parallel, or they can converge at the point of interest or zoom distance.
This convergence point can then be offset with a slider control.
The stereo 3D preview itself is created with the 3D Glasses effect. Significantly enhanced in After
Effects CS5.5, this effect includes controls to match the physical setup of source stereo footage. You
can fine-tune convergence and vertical alignment (if actual physical cameras were misaligned).
This effect produces the actual stereo image, allowing you to choose from one of nine 3D output
configurations (interlaced, stereo pair, or various types of anaglyph), allowing you to don 3D
glasses and preview directly in After Effects.
Because stereo 3D animations often use more than one point of view on the same source material,
you can create multiple rigs to correspond to multiple cameras in a single composition. For final
output, any changes you make in the master composition are passed through to the composition
for each eye.
Enhance 3D for video. Create and
enhance 3D and motion-based
content and prepare still images and
text for all your projects. Work fast
with cross-platform 64-bit support,
and create stunning HDR images for
video backdrops.
Record, edit, mix, master, and
sweeten audio. With Audition
CS5.5—now available for Mac and
Windows—enjoy a smooth workflow with a fast new audio playback
engine, royalty-free content*
(available through the Resource
Central panel), and deep integration
with Adobe Premiere Pro CS5.5.
Design interactive experiences.
Create video portfolios and other
engaging interactive media with
easy-to-use Flash Catalyst or with
the full power of Flash Professional.
For more information, see Adobe
Creative Suite 5.5 Production
Premium What’s New.
Although stereo 3D projects have been created in After Effects for some time, setup was never as quick and easy. A master
composition to preview the stereo effect contains a sub-composition for each eye and a rigged source.
Adobe After Effects CS5.5 What’s New
5
Control light intensity falloff
In the real world, light intensity diminishes naturally the further lit objects are from the light source.
After Effects now gives you the controls you need to simulate natural illumination falloff in a 3D
scene—or create other light intensity effects, if so desired.
Choose the Inverse Square Clamped falloff
setting to recreate the real-world decay of
light over distance, in which light intensity
naturally falls off by the square of the
inverse distance. The Smooth falloff
setting allows you to define the exact
distance over which light levels decay.
With either setting, you can determine at
what distance (in pixels) light falloff starts
and ends.
Inverse-square lighting falls off naturally, displaying
The same four basic choices of light type
characteristics of real-world light.
previously offered in After Effects—
Parallel, Spot, Point, and Ambient—all
remain, with each type (except Ambient, which is equal at all positions and thus does not decay)
supporting both types of falloff. You can mix light types, intensities, and shadow casting settings
the same way you could in previous releases of After Effects.
Work with more high-definition source formats
As new formats for gathering high definition footage arise, After Effects continues to add support
for the most versatile and widely used among them, including native R3D support. The RED
ROCKET card for Mac OS and Windows delivers real-time 4K RGB playback and transcoding of R3D
files from the RED camera, and After Effects can import those files directly, reducing steps between
shooting and post-production.
RED RMD files are sidecar files alongside the R3D file that contain information about how the shot
is graded in software such as REDCINE-X. After Effects imports and applies these RMD settings on
import, so that important decisions about how to interpret the color of the shot are not left behind.
In addition to the ability to save and load the latest versions of RMD—as well as your own custom
presets— you can now pick a white point and use either a histogram or a five-point curves interface to
adjust red, green, blue, RGB, or Luma values for a clip. You can choose which Color Version is used, and
FLUTs, Lift, Gamma, and Gain settings are all supported.
Digital footage is often shot at low
contrast, resulting in a color range that
differs from the intended final look. Not
only does After Effects include a full
suite of RED tools and settings to adjust
raw source on import, it also supports
sidecar RMD files that contain these
settings from other applications.
Adobe After Effects CS5.5 What’s New
6
CinemaDNG enables film and video professionals working with RAW digital footage—such as a
time-lapse sequence from a DSLR camera—to use an open standard. After Effects CS5.5 now
imports CinemaDNG files, offering similar controls on import that apply to DNG files, a still format
already in wide use. CinemaDNG helps ensure interoperability and the lasting viability of source
footage files.
Work with additional LUTs
Color look-up table (LUT) support helps boost confidence that creative and technical decisions
translate properly to final output in a wide variety of situations, and help ensure color consistency
across multiple devices. After Effects CS5.5 expands LUT support beyond the popular 3DL and
CUBE file formats to also allow the loading of 3DL files with floating point values or 3DMES/Mesh
keywords, or those saved from the ASSIMILATE SCRATCH system.
A LUT makes it possible to save the color correction performed on a file using a wide range of
applications and systems, and simulate those settings exactly within After Effects on a specific
piece of footage or final composite. A LUT is also used to simulate how images look when
projected via specific film stocks or digital projectors. LUTs are an important part of streamlining
complex post-production pipelines that span many locations and use a wide variety of software
and hardware.
Export XDCAM EX footage
After Effects can now render in the XDCAM EX format using multiple bit-rates, pixel aspects, and
frame rates. This allows you to roundtrip footage shot on currently popular Sony cameras such as
the PMW-EX3 so that your output is consistent with files being edited directly from source.
Collaborate easily with colleagues still using After Effects CS5
Expected ship date
Second quarter 2011
For more information
Product details:
www.adobe.com/aftereffects
Choosing when to upgrade to After Effects CS5.5 is simpler with backward compatibility of saved
projects. The new option makes it possible to open a project created in version CS5.5 on a system
that has not yet been upgraded from CS5.
This option allows you to upgrade your studio even if you anticipate working with clients and
freelancers have not yet upgraded. Although After Effects CS5 users do not gain access to the many
great features added in this latest version, effects available only in After Effects CS5.5 show up as
placeholders, the same way that third-party plug-ins are handled when missing. When the project
is reopened in After Effects CS5.5, those settings are restored.
Benefit from small changes that make a big difference
Each new release of After Effects includes many enhancements that aid workflow and add
refinements to existing features, and version CS5.5 is no exception.
mocha for After Effects CS5.5
(included: English UI only)
This latest version of the powerful
plug-in from Imagineer Systems—
first introduced in After Effects
CS4—features a completely
revamped and streamlined
interface. With mocha for After
Effects you can precisely track
whole planes of motion and apply
the results in an After Effects
composition, greatly increasing
your motion tracking, corner
pinning and rotoscoping options.
• Improved disk caching allows for more efficient rendering. Now enabled by default, with
a 20 GB limit, many more frames are eligible for disk caching. Items are cached speculatively
when the app is idle, so you don’t have to wait for them to be added and purged. Caching
frames at any time creates a more responsive work environment.
• Search history saves recent searches while allowing you to save favorite search terms with a
shortcut. You can freely delete items from the 10 item list that is saved.
• Drag-selection of layers in the Composition panel improves the workflow. A marquee
selection selects layers in the same way you might select mask vertices, holding Shift to add or
subtract from the existing selection.
• Create Orbit Null parents the camera to a new null layer named to match that camera.
• Perform OR searches using commas. Add a comma between entries in a list of search terms,
and After Effects will return any item that contains at least one of those text strings.
• Dual time display in the Timeline panel lets you monitor both the current time display, such as
timecode, and the alternate display, such as frames, as well as the current frame rate.
Adobe After Effects CS5.5 What’s New
7
System requirements
Still using After Effects CS4?
Mac OS
If you’re still using After Effects CS4, upgrading to After Effects CS5.5 gives you the huge
improvements in performance and efficiency first introduced in After Effects CS5. These features
substantially boost productivity in many areas.
•Multicore Intel® processor with
64-bit support
•Mac OS X v10.5.8 or v10.6
•2GB of RAM
•4GB of available hard-disk space
plus 2GB of space for optional
content; additional free space
required during installation (cannot
install on a volume that uses a
case-sensitive file system or on
removable flash storage devices)
•1280x800 display with OpenGL
2.0–compatible graphics card
•DVD-ROM drive
•QuickTime 7.6.2 software required
for QuickTime features
• Broadband Internet connection
required for online services and
to validate Subscription Edition (if
applicable) on an ongoing basis*
Windows
•Intel® Pentium® 4 or AMD Athlon® 64
processor (Intel Core™ i3, i5, or i7 or
or AMD Phenom® II recommended);
64-bit support required
•64-bit operating system required:
Microsoft® Windows Vista® Home
Premium, Business, Ultimate, or
Enterprise with Service Pack 1 or
Windows® 7
•2GB of RAM
•3GB of available hard-disk space
plus 2GB of space for optional
content; additional free space
required during installation
(cannot install on removable flash
storage devices)
•1280x800 display with OpenGL
2.0–compatible graphics card
•DVD-ROM drive
•QuickTime 7.6.2 software required
for QuickTime features
•Broadband Internet connection
required for online services and to
validate Subscription Edition (if applicable) on an ongoing basis*
For updates to system requirements
and more detailed information about
video hardware compatibility, visit
www.adobe.com/go/aftereffects_
systemreqs.
• Native 64-bit support—Get the most out of your hardware investment. As a native 64-bit
application, After Effects uses all available RAM so that you can work efficiently on complex HD,
2K, and 4K projects. On average, using data from over 130 performance benchmarks, After
Effects CS5 is more than twice as fast as After Effects CS4 (according to independent research
firm Pfeiffer Consulting).
• Roto Brush—Isolate moving foreground elements from their backgrounds in a fraction of the
time required by other methods. Quickly identify foreground and background elements, and
then let the Roto Brush automatically create transparency for you. Refine edges easily for
extremely precise results. Rotoscoping a five-second clip was found to be 20x faster with Roto
Brush than using the After Effects CS4 workflow (Pfeiffer Consulting).
• Color Finesse 3 LE (English user interface only)—Enjoy an enhanced color correction workflow
with Color Finesse 3 LE from Synthetic Aperture. Features include a vibrance control similar to
that in Adobe Photoshop Lightroom® software, hue and saturation curve controls, 3D LUT
export, and highlight recovery.
• Refine Matte effect—Apply intelligent edge tracking, dechattering, and motion blurring
capabilities to any layer with a problematic alpha channel, such as keyed footage.
• Digieffects FreeForm (English user interface only)—Turn flat objects into virtually any 3D
shape using this popular 3D mesh warp plug-in by Digieffects, now included with After Effects.
Still using After Effects CS3?
For those still using After Effects CS3, upgrading to After Effects CS5.5 also gives you the chance to
catch up on all the great features added in After Effects CS4. These features greatly enhance your
productivity, as well as provide ground-breaking integration with other Adobe software.
• QuickSearch—Instantly locate any element, or all used or missing footage in a comp or project.
• Composition Navigator and Mini-Flowchart—Navigate quickly between nested compositions
with a simple keyboard shortcut and interactive user interface element.
• Separate X, Y & Z values—Set unique keyframes for properties with three dimensions,
simplifying the process of creating natural motion.
• Photoshop integration—Place 3D objects on layers in Photoshop (including the new Repoussé
layers introduced in Photoshop CS5), paint them using its industry-standard tools, import them
into After Effects, and animate them alongside your other 3D layers.
• Flash integration—Export After Effects compositions as layered projects which can be
imported into Flash Professional.
About Adobe Systems Incorporated
Adobe is the world’s leading provider of software solutions to create, manage, and deliver highimpact, reliable digital content. For more information, visit www.adobe.com.
* Adobe online services, including Adobe CS Live Services, are available only to users 13 and older and require agreement to additional terms and Adobe’s
online privacy policy (available at www.adobe.com/go/ terms). Online services are not available in all countries or languages, may require user registration
and may be subject to change or discontinuation without notice. Additional fees or subscription charges may apply.
†CS Live online services are complimentary for a limited time. See www.adobe.com/go/cslive for details.
Adobe Systems Incorporated
345 Park Avenue
San Jose, CA 95110-2704
USA
www.adobe.com
Adobe, the Adobe logo, Adobe Premiere, Adobe Audition, After Effects, Creative Suite, Encore, Flash, Illustrator, Lightroom, OnLocation and Photoshop are
either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. AMD Athlon and AMD Phenom are
trademarks or registered trademarks of Advanced Micro Devices, Inc. Apple, Mac, and Mac OS are trademarks of Apple Computer, Inc., registered in the
United States and other countries. Intel, Intel Core, and Pentium are trademarks or registered trademarks of Intel Corporation or its subsidiaries in the United
States and other countries. All other trademarks are the property of their respective owners.
© 2011 Adobe Systems Incorporated. All rights reserved. 1/11
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement