Adobe After Effects CS3 - Manual (Page 85)

AFTER EFFECTS CS3
User Guide
80
See also
“Working with 3D layers” on page 171
“Cameras, lights, and points of interest” on page 176
Importing still images
Preparing still-image files for importing
You can import individual still images into After Effects or import a series of still images as a sequence. You can
import still images from Adobe applications such as Photoshop and Illustrator, or import images using the Adobe
Stock Photos service using Adobe Bridge. For information about the still-image formats that After Effects imports,
see “Supported import formats” on page 48.
After Effects works internally in an RGB color space, but it can import and convert CMYK images. However, when
possible, you should work in an RGB color space in applications such as Illustrator and Photoshop when creating
images for video, film, and other non-print media. Working in RGB provides a larger gamut and more accurately
reflects your final output.
Before you import a still image into After Effects, prepare it as completely as possible to reduce rendering time. It is
usually easier and faster to prepare a still image in its original application than to modify it in After Effects. Consider
doing the following to an image before importing it into After Effects:
• Make sure that the file format is supported by the operating system you plan to use.
• Crop the parts of the image that you do not want to be visible in After Effects.
Note: Illustrator files can have fractional dimensions (e.g., 216.5 x 275.5 pixels). When importing these files, After Effects
compensates for the fractional dimensions by rounding-up to the next whole number of pixels (e.g., 217 x 278 pixels).
This rounding results in a black line at the right (width) or bottom (height) edge of the imported image. When cropping
in Illustrator, make sure that the dimensions of the cropped area are whole numbers of pixels.
• If you want to designate areas as transparent, create an alpha channel or use the transparency tools in applications
such as Photoshop or Illustrator.
• If final output will be broadcast video, avoid using thin horizontal lines (such as 1-pixel lines) for images or text
because they may flicker as a result of interlacing. If you must use thin lines, add a slight blur so that the image or
text appears in both video fields instead of flickering between them. (See “About interlaced and noninterlaced
video” on page 70.)
• If final output will be broadcast video, make sure that important parts of the image fall within the action-safe and
title-safe zones. When you create a document in Illustrator or Photoshop using a preset for film and video, the safe
zones are shown as guide lines. (See “Work with safe zones, grids, guides, and rulers” on page 130.)
• If the final output will be broadcast video, keep colors within the broadcast-safe ranges. (See “Broadcast-safe
colors” on page 250.)
• Save the file using the correct naming convention. For example, if you plan to import the file into After Effects on
Windows, use a three-character file-name extension.